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The Scheding Index of Australian Art & Artists

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Showing 158,205 records of 158,205 total. We are displaying one thousand.

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Being at Bundanonview full entry
Reference: Being at Bundanon : a Bundanon travelling exhibition. [’“being at BUNDANON is the first in a series of exhibitions which will explore the works of artists who have worked at Bundanon and in particular have participated in the Bundanon Artist in Residence Program. A selection of works by visual artists will be the focus …These works represent the artist’s own unique experience and interpretation of their time at Bundanon.”–Bundanon website (viewed 18/4/06) at http:/ / www.bundanon.com.au.
“Edition 500 … Essay copyright 2005 David Chalker and Simeon Kronenberg … Curators Rene Sutherland, Jennifer Thompson and Niki Mortimer”–Inside front cover.
Artists include Rosalind Atkins, Arthur Boyd etc.’]
Publishing details: West Cambewarra, NSW : Bundanon Trust, 2005.


Ref: 1000
Lyssiotis Peter view full entry
Reference: The bird, the belltower. Poems and photo-montage.

Publishing details: Melbourne : Modern Writing Press, 2004. First edition. Octavo, illustrated wrappers, pp. 95, illustrated.
Ref: 1000
Dobell Williamview full entry
Reference: The art of William Dobell. Foreword by Hal Missingham, catalogue of 65 works by Dobell.
Publishing details: [Brisbane] : National Gallery Society of Queensland, [1959]. Octavo, illustrated wrappers, pp. [20], tipped-in colour plates. [Photocopy only}
Ref: 46
Contemporary sculpture in Australian gardensview full entry
Reference: Contemporary sculpture in Australian gardens by Ken Scarlett

Publishing details: [Tortola, British Virgin Islands] : Gordon and Breach Arts International ; Roseville, N.S.W. : Distributed by Craftsman House, c1993. Quarto, boards in dustjacket, pp. 120, illustrated.
Ref: 1009
view full entry
Reference:
Picture the kangarooview full entry
Reference: Picture the kangaroo : a light-hearted look at children’s book illustrations

Publishing details: Sydney : Trustees of the Museum of Applied Arts and Sciences, 1985. Octavo, illustrated wrappers, pp. 16, illustrated.
Ref: 1009
Diggles Sylvesterview full entry
Reference: The bird man of Brisbane : Silvester Diggles and his ornithology of Australia, by Louis J Pigott. ‘When Silvester Diggles arrived in 1855 there was little artistic or scientific talent in the small frontier town of Brisbane. By the time of his death in 1880, his paramount legacy was a large book on Australian birds, profusely illustrated with hand-coloured lithographs’
Publishing details: Brisbane. : Boolarong Press, 2010. Octavo, illustrated wrappers, pp. xii; 214, illustrated.
Ref: 1009
Shepherd Robertview full entry
Reference: see Thomas Vallance Wran : the Annandale sculptures 1873-74 / Philip Drew. "Exhibition April 1-3, 2016, Leichhardt Council at Leichhardt Library, Italian Forum, Piazza Level 2040, 23 Norton St Leichhardt." Includes bibliographical references and extensive biographical freferences on sculptor Thomas Wran and architect Thomas Rowe. Illustrations include drawings by Robert Shepherd made in 2016.
Publishing details: Annandale, NSW : [Philip Drew], [2016], 48 pages : illustrations (chiefly colour), 1 map, facsimiles ; 21 cm.
Rowe Thomas architectview full entry
Reference: see Thomas Vallance Wran : the Annandale sculptures 1873-74 / Philip Drew. "Exhibition April 1-3, 2016, Leichhardt Council at Leichhardt Library, Italian Forum, Piazza Level 2040, 23 Norton St Leichhardt." Includes bibliographical references and extensive biographical freferences on sculptor Thomas Wran and architect Thomas Rowe. Illustrations include drawings by Robert Shepherd made in 2016.
Publishing details: Annandale, NSW : [Philip Drew], [2016], 48 pages : illustrations (chiefly colour), 1 map, facsimiles ; 21 cm.
Crombie Isobelview full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Photography - contemporaryview full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
contemporary photographyview full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Cornish Christine b1946view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Ferran Anne b1949view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Hall Fiona b1953view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Henson Bill b1955view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Moffatt Tracey b1960view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Mudford Grant b1944view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Pam Max b1949view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Phillips Debra b1958view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Stacey Robyn b1952view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Tyssen Ingeborg b1945view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Zahalka Anne b1957view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Ashton Robert b1950view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Baraki Bashir b1943view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Barry Christine b1954view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Breninger Warren b1948view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Christodoulou Takis b1948view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Drummond Rozalind b1956view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Dupain Max b1911view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Farrell Rose b1949view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Parkin George b1949view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Ford Sue b1943view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Green Janina b1944view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Hare Graeme b1952view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Hawkes Ponch b1946view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Jose Ellen b1951view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Koller Christopher b1943view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Lobb Ian b1948view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Lynkushka Angela b1947view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Lyssiotis Peter b1949view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
MacDonald Fiona b1955view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Papapetrou Polixeni b1960view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Walkling Les b1953view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Wickham Stephen b1950view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Wilson Kevin b1953view full entry
Reference: see Twenty Contemporary Australian Photographers. by Isobel Crombie. Hallmark Cards Australian Photographic Collection. Includes brief biographies on the photographers. Illustrations in colour and black and white.
Publishing details: NGV, 1990, 71pp.
Coates George J 1869-1930view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Colquhoun Amalie 1894-1974view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Colquhoun A D 1894-1983view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Cornehls August 1887-1962view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Crawford Ron 1915-1987view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Dargie William Sir view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Farmer John 1897-1989 - 25 works includedview full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Griffiths F Harley 1878-1951 - 17 works includedview full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Harley Griffiths F 1878-1951 SEE Griffiths Harleyview full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Honey C Winifred 1892-1942view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Jorgensen Justus 1893-1975view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Kimpton Esward 1888-1965view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Martin Alan 1923-1989view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Meldrum Max 1875-1955view full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Meldrum schoolview full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Minogue Jim 1895-1955 - 6 worksview full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Rembrandtview full entry
Reference: see Australian Artists Influenced By Rembrandt. Castlemaine Art Gallery & Historical Museum exhibition catalogue.
Profusely illustrated. Includes minimal passing references to the artists in the introductory essay.
Publishing details: Castlemaine, Castlemaine Art Gallery & Historical Museum, 1997. 4to; pp. 15; stiff stapled illustrated wrapper; limited to 300 copies.
Lambert George 1873-1930]view full entry
Reference: [ANIMAL MISFITZ CARD GAME] CARD MATCHING GAME WITH SEVERAL AUSTRALIAN RELATED IMAGES. By George Lambert.
A group of unrecorded playing cards illustrated by George Lambert, revered Australian artist who was an official artist for Australia in W.W.I. Lambert illustrated several sets of playing cards for Faulkner's company. His early signature appeared "G.L." and later "G. Lambert".

According to the very fine website World of Playing Cards, Lambert's illustrations decorate the sets "Bargains" (c. 1900, signed "G.L."); "Nursery Rhymes Misfitz" (ca. 1900) unsigned, but with the same formatting of the title as these animal cards, printed in light gray, small caps, italics); an unknown titled set from Faulkner's Misfitz series, (c.1902); "Hurry-Up Misfitz" (ca. 1907), some of these cards are signed G.L. (as ours are) and some signed G. Lambert); and "Shakespearian Misfitz" (c.1907/08) unsigned. Unknown how many cards are in this set; the total seems to be approximately between 56 and 72.

66 cards making up 22 animal characters each made up of 3 separate cards. The animals include an "emu" in an Australian digger hat named "Gobble"; Penguin (dressed in top hat and tuxedo collar, pince nez dangling from his tie); Jacko (monkey); Polly; Goosey; Piggy; Scottie (sheep dog playing the bagpipe); Moosoo (elegant poodle with top hat, walking stick) ; Mouser; Billy (billy goat in Alpine climbing gear); Spoony (spoonbill bird with fishing tackle); King Lion (crowned and bearing scepter); Baa Baa Black Sheep; Quack Quack; Mother Owl; Qua Qua (New Caledonian crow dressed as a Bobby); Bunnie; Jumbo (elephant with large valise lettered, "Mr. Elephant Passenger to Jungle Junction"); Robin; Reynard (stealthy fox absconding with duck); Brownie (squirrel); and Dicky (reading "The Donkey's Bray").

66 cards making up 22 animal characters each made up of 3 separate cards; each card measures 3 3/4 x 2 1/2". Verso printed with British flag and heraldic devices, with motto "Honi Soit Qui Mal Y Pense". Some cards with cracks, minor staining; King Lion's top most card with some loss to right side of card. Not found on Trove or WorldCat. Good + condition. Item #25912 in Antipodean Books catalogue elist 41, Dec., 2019.
Publishing details: London: C. W. Faulkner & Co, Nd ca. 1902.
Ref: 1000
Capturing Natureview full entry
Reference: Capturing Nature: Early Scientific Photography at the Australian Museum 1857–1893 by Vanessa Finney. [’The groundbreaking scientific photographs of Australian Museum curator Gerard Krefft and taxidermist Henry Barnes are revealed for the first time.

In the mid-nineteenth century, scientists around the world were quick to see photography’s huge potential for capturing fleeting moments of life, death and discovery. At the Australian Museum, curator Gerard Krefft and taxidermist Henry Barnes began to experiment with the revolutionary new art form, preparing and staging their specimens — from whales and giant sunfish to lifelike lyre bird scenes and fossils — and documenting them in thousands of arresting images.
Capturing Nature reveals these groundbreaking photographs for the first time, along with the Australian Museum’s urgent quest to become more scientific in its practices.’] [to be indexed]
Publishing details: NewSouth, 2019, Paperback, 192pp
Fox Belindaview full entry
Reference: Back to the Start by Belinda Fox.

The book features essays from close associates, and follows Belinda's journey through her work as a printmaker, an independent artist, a collaborative ceramicist, and a sculptor. Fox has undergone numerous artist residencies, and is the recipient of dozens of prizes, awards, and grants. She is continually improving on her art forms, methods of expression, and her collection of inspirations and influences. Here, Fox presents the fragility of life and its simultaneous unfathomable solidity through the lens of the journey of the individual. This is "Back to the Start."

About Belinda Fox
Belinda Fox is a lyrical, abstract artist who explores the precarious balance in contemporary life between hope and doubt. Her paintings and works on paper reveal her search for balance and harmony in our contemporary world. Reflecting on and responding to the continual presence of conflict in our lives, Belinda's work offers a breathing space to meditate on the beauty that surrounds us. Belinda graduated from the Victorian College of the Arts in 1996, and completed her Graduate Diploma of Education at the University of Melbourne in 1999. She has travelled extensively in India, Nepal, Laos, Tibet and China and has used these travels as inspiration for her work. Belinda has won many prestigious awards including the Silk Cut Award for linocut prints (2004), Burnie Print Prize (2007), Banyule Works on Paper Award (2007), Ex Libris Book Award (2008) and Paul Guest Drawing Prize (2010). Her work has been acquired by the National Gallery of Australia, Artbank, Print Council of Australia, BHP Billiton, Crown Casino (Macau) and various state, regional and university galleries across Australia.
Publishing details: Oro Editions, 2017, 164pp.
Ref: 1000
Botanical Revelationview full entry
Reference: Botanical Revelation: European encounters with Australian plants before Darwin, by
David J. Mabberley..

[’Acclaimed author David Mabberley provides a ground-breaking analysis of early European understanding of Australia’s flora.
Combining science, horticulture, art and economics, this lavishly illustrated book – with many neverbefore-published images – reveals the motives and complex networks that led to the international spread of knowledge and cultivation of hundreds of Australian plants in Europe in the late eighteenth and early nineteenth centuries.
Based on the superb Peter Crossing Collection, Botanical Revelation documents a revolutionary phase in the understanding of Australia’s flora and science more generally.’]
Publishing details: NewSouth, 2019, 384pp.
Arnold Malcolmview full entry
Reference: The Macdonnell Ranges Central Australia - Six Drawings by Malcolm Arnold
Publishing details: Small Quarto Size [approx 17.5cm x 24cm]. Six (6) prints - 2 colour and 6 Black and White drawings (prints). Contains - Ellery Creek Big Hole (Colour); Towards Mt Sonder (Colour); Cycad Palm (b/w); Rock Pool, Palm Valley (b/w); Ormiston Gorge (b/w); and Glen Helen Lodge (b/w).
Ref: 1000
Haselton louiseview full entry
Reference: Haselton Act Natural
By: Brown, Gillian; Robb, Leigh; McKenzie, Jenna, Illustrated with Colour photographs. 128 pages a compendium of Haselton's works to date including illustrated essays chronicling the inspirations, influences and ideas behind her extraordinary practice of the last twenty-five years.
Publishing details: Publisher: Mile End, SA, Wakefield Press: 2019, Quarto No dustjacket as issued.
Ref: 1000
Davey Thyrzaview full entry
Reference: Barossa And Beyond. ‘Thyrza Davey spent six years recording and painting the heritage of the Barossa Valley. This book contains a selection of her paintings and is a beautiful tribute to the Barossa .’
Publishing details: Sydney, Hodder & Stoughton: 1988, 64pp
Ref: 1000
Duldig Carlview full entry
Reference: Driftwood: Escape and survival through art
By: Eva de Jong-Duldig, ‘In 1938 sculptor Karl Duldig, his wife Slawa Horowitz-Duldig - inventor of the modern foldable umbrella - and their baby daughter Eva, left their home in Vienna for an uncertain future. They found a brief refuge in Singapore before arriving in Sydney on 25 September 1940. Spanning three continents and three generations, it poignantly captures both the loss that families encounter when they are dislocated by war and the challenges they face when adapting to a new way of life. This book offers an insight into the cultural life of Australia at a time of enormous change, politically and artistically and a profound lesson in the experience of emigration in the worst of circumstances.’
Publishing details: Card wraps. Illustrated with Colour and Black & White Photographs. 417 pages
Ref: 1009
de Jong-Duldig, Evaview full entry
Reference: see Driftwood: Escape and survival through art
By: Eva de Jong-Duldig, ‘In 1938 sculptor Karl Duldig, his wife Slawa Horowitz-Duldig - inventor of the modern foldable umbrella - and their baby daughter Eva, left their home in Vienna for an uncertain future. They found a brief refuge in Singapore before arriving in Sydney on 25 September 1940. Spanning three continents and three generations, it poignantly captures both the loss that families encounter when they are dislocated by war and the challenges they face when adapting to a new way of life. This book offers an insight into the cultural life of Australia at a time of enormous change, politically and artistically and a profound lesson in the experience of emigration in the worst of circumstances.’
Publishing details: Card wraps. Illustrated with Colour and Black & White Photographs. 417 pages
Horowitz-Duldig Slawa view full entry
Reference: see Driftwood: Escape and survival through art
By: Eva de Jong-Duldig, ‘In 1938 sculptor Karl Duldig, his wife Slawa Horowitz-Duldig - inventor of the modern foldable umbrella - and their baby daughter Eva, left their home in Vienna for an uncertain future. They found a brief refuge in Singapore before arriving in Sydney on 25 September 1940. Spanning three continents and three generations, it poignantly captures both the loss that families encounter when they are dislocated by war and the challenges they face when adapting to a new way of life. This book offers an insight into the cultural life of Australia at a time of enormous change, politically and artistically and a profound lesson in the experience of emigration in the worst of circumstances.’
Publishing details: Card wraps. Illustrated with Colour and Black & White Photographs. 417 pages
Buzacott Nutterview full entry
Reference: Nutter Buzacott Artist: Observations of life and landscape, by Lee Dunn, ‘Nutter Buzacott was well known and admired in Melbourne's early modernist art scene of the 1930s and 1940s, and his art attracted very favourable attention when he moved to Brisbane in the late 1940s, but it has been overlooked since his death in 1976. This timely survey of his art is woven into an account of his life and the social and political context within which he lived.’
Publishing details: Australian Scholarly Publishing: 2019, llustrated with colour and reproductions and black & white photographs. 101 pages
Ref: 1009
Orchard Christopher view full entry
Reference: Christopher Orchard The Uncertainty of a Poet, by: Goldsworthy, Peter; Osborne, Margot; Ananda, Roy; Robinson, Julia; Taylor, Rod. Christopher Orchard is the creator of the Bald Man, a stoic little character the artist has been drawing and redrawing for decades. Orchard’s apparently effortless art is built on a commitment to rigorous studio practice. In this book we see the evolution of his style over the years. We also gain an insight into the immense influence of a man who is one of Australia’s finest artists working today.
Publishing details: Mile End, SA, Wakefield Press: 2017, Illustrated with colour and black & white reproductions. 159 pages
Ref: 1000
Belfrage Clareview full entry
Reference: Clare Belfrage. Rhythms of Necessity
By: Lawrence, Kay and Waters, Sera. ‘Clare Belfrage has built an extraordinary career as a glass artist. This book explores the significance of her contribution to contemporary international glass art.’
Publishing details: Wakefield Press: 2018, 128pp
Ref: 1000
Johns Gregview full entry
Reference: Edge of Time Greg Johns Sculptures 1977-2015. ‘An examination of Greg John's steel sculptures. Provides detailed insights into the development, work and ideas of one of Australia's most distinctive public artists. It offers also a behind-the-scenes look at what is involved in making large public sculptures - and above all, in making sculpture which is authentically Australian.’
Publishing details: Wakefield Press: 2015, 240pp,
Ref: 1000
Indecorous Abstractionview full entry
Reference: Indecorous Abstraction Contemporary Women Painters, by Margot Osborne, (Curator). The exhibition highlighted the abstract paintings of a number of Australian women artists including Gloria Petyarre, Jacki Fleet, Dorothy Napangardi, Aidia Tomescu, Mitjili Napurrula, Marion Borgelt, Angela Brennan etc. [to be indexed]
Publishing details: Adelaide, Light Square Gallery AIT ARTS: 2002, 15 Coloured Plates. Unpaginated [20pages] The catalogue of an art exhibition held at the Light Square Gallery August/September 2002.
Ref: 1000
Posterbook - Seeing Australia view full entry
Reference: see Seeing Australia Posterbook. By Sullivan, Graeme, Bishop, Margaret and Dunn, John. 10 reproductions of works from Australian Artists, Philip George, Trevor Nikolls, Fiona Hall, Stelarc, Ruth Waller, Tracey Moffatt, Graham Blondel, Mandy Martin, Fiona Foley, and Peter Booth. Includes commentary on each work. 

Publishing details: Piper Press, Australia, 1994. Folio Size [38x28cm approx]. Card Covers.
Woodman Janview full entry
Reference: Nature Revealed An artist's view of the wildflowers of South Australia. Watercolour illustrations by Jan Woodman.
Publishing details: Jan Woodman, 150 pages

Ref: 1000
Wright Robert view full entry
Reference: Yesterday, Today - Tomorrow [Signed]
By: Wright, John D. [Poetry] & Wright, Robert A. [Paintings]
Publishing details: Port Pirie, Published by Author & Artist: No DateCirca 1983, original green cloth boards [no dustjacket as issued]. Limited edition of 1000 numbered & signed copies, approc 60pp
Ref: 1000
Mercier Emileview full entry
Reference: books of cartoons include 1) Hang on Please 2) I'm waiting for an earthquake 3) Is my Slip Showing 4) My ears are killing me 5) Don't Shove 6) I'm waiting for an earthquake 7) My wife's swallowed a Bishop.
Low Davidview full entry
Reference: Low's Company: Fifty Portraits By David Low.
Publishing details: London 1952
Ref: 1000
Russell Jimview full entry
Reference: The Potts and Uncle Dick [’run’ unknown]
Publishing details: Brisbane Courier Mail (?) c1950s,
Ref: 1000
Mountford Charles Pview full entry
Reference: Nomads of the Australian Desert. Photographs. [This book was withdrawn from sale after the Aboriginal people objected to some content.]
Publishing details: Adelaide: Rigby, 1976. First edition, small quarto, cloth with dustwrapper, fine copy.
Ref: 1000
Annois Leonard Lloyd (Len) 1906-1966view full entry
Reference: see CROW'S AUCTION GALLERY, 10 Dec, 2019, lot 801: Leonard Lloyd (Len) Annois (Australian, 1906-1966), 'The Tivoli', lithograph, signed lower right and numbered 1/8 in pencil lower margin, 12" x 12"
Huddleston Gertie c.1933-2013) view full entry
Reference: see WOOLLEY & WALLIS, auction, 11 December, 2019, lot 196: Gertie Huddleston (Australian c.1933-2013)
Bush scene after rain
Inscribed with artist's name, Shades of Ochre and numbered 819985 to verso
Acrylic on canvas
Painted in 1994
93.5 x 124cm
Unframed
Provenance:
Shades of Ochre, Darwin, 1995
Edgar Williamview full entry
Reference: see William EdgarCAMBI CASA D'ASTE auction, Italy, 13 Dec, 2019, lot 141: (active between the end of the nineteenth century and 1918), Portrait of the Italian pole brig Gio Batta Bever (?), Late 19th century oil on canvas, 46x66 cm. Signed lower left "W.Edgar / Charlestons / Studios N.S.W."
Bowden Annie Maud 1893-1970view full entry
Reference: see embroidered panel c1914 in the Art Gallery of South Australia.
Tarnanthiview full entry
Reference: Tarnanthi : festival of contemporary Aboriginal & Torres Strait Islander art / Nici Cumpston. [to be indexed]
"Tarnanthi, pronounced tar-nan-dee, is a Kaurna word from the traditional owners of the Adelaide Plains. It means to come forth or appear – like the sun and the first emergence of light. For many cultures, first light signifies new beginnings. Building on the popular and critical success of the 2015 Festival, TARNANTHI returns in 2017, presenting the art of Australia’s oldest living culture on an unprecedented scale. A platform for artists from across the country to share important stories, TARNANTHI sheds new light on contemporary Aboriginal and Torres Strait Islander art."--Publisher description.
Notes Presented by Government of South Australia, Arts SA, Art Gallery of South Australia ; principal partner, BHP Billiton.
Published to accompany the second Tarnanthi festival of contemporary Aboriginal and Torres Strait Islander art; exhibitions, the art fair and other events held across Adelaide City from 13-22 October 2017, with exhibitions continuing to January 2018.
Nici Cumpston, Artistic Director.

Publishing details: Art Gallery of South Australia, 2017 
254 pages : colour illustrations, portraits,
Ref: 1000
Present Tenseview full entry
Reference: Present tense : Anna Schwartz Gallery and thirty-five years of contemporary Australian art / Doug Hall. [to be indexed]
‘Beginning in St Kilda with United Artists, visionary gallerist Anna Schwartz relocated to City Gallery at 45 Flinders Lane before Anna Schwartz Gallery found its current location at 185 Flinders Lane in 1993. Present Tense captures Schwartz, known for her steadfast promotion of the contemporary and the challenging, alongside the inimitable roster of artists that her gallery represents, and the key figures of Australian art and culture. The visually stunning volume combines historical vignettes, interviews, and hundreds of archival photographs and artworks. Told with wit and verve, it reveals a story that arcs from the journeys of immigrants who make up Australia's rich cultural life to the local artistic scenes of Melbourne to the global stage of the art world. Present Tense is an elegant cloth-bound volume featuring full-colour images throughout and a magnificent portrait of Anna Schwartz by artist Jenny Watson on the spine.’
Publishing details: Black Inc., an imprint of Schwartz Books Pty Ltd, 2019 
©2019 
xiii, 449 pages : illustrations (some colour), portraits
Ref: 1000
Anna Schwartz Galleryview full entry
Reference: see Present tense : Anna Schwartz Gallery and thirty-five years of contemporary Australian art / Doug Hall.
‘Beginning in St Kilda with United Artists, visionary gallerist Anna Schwartz relocated to City Gallery at 45 Flinders Lane before Anna Schwartz Gallery found its current location at 185 Flinders Lane in 1993. Present Tense captures Schwartz, known for her steadfast promotion of the contemporary and the challenging, alongside the inimitable roster of artists that her gallery represents, and the key figures of Australian art and culture. The visually stunning volume combines historical vignettes, interviews, and hundreds of archival photographs and artworks. Told with wit and verve, it reveals a story that arcs from the journeys of immigrants who make up Australia's rich cultural life to the local artistic scenes of Melbourne to the global stage of the art world. Present Tense is an elegant cloth-bound volume featuring full-colour images throughout and a magnificent portrait of Anna Schwartz by artist Jenny Watson on the spine.’
Publishing details: Black Inc., an imprint of Schwartz Books Pty Ltd, 2019 
©2019 
xiii, 449 pages : illustrations (some colour), portraits
Schwartz Anna view full entry
Reference: see Present tense : Anna Schwartz Gallery and thirty-five years of contemporary Australian art / Doug Hall.
‘Beginning in St Kilda with United Artists, visionary gallerist Anna Schwartz relocated to City Gallery at 45 Flinders Lane before Anna Schwartz Gallery found its current location at 185 Flinders Lane in 1993. Present Tense captures Schwartz, known for her steadfast promotion of the contemporary and the challenging, alongside the inimitable roster of artists that her gallery represents, and the key figures of Australian art and culture. The visually stunning volume combines historical vignettes, interviews, and hundreds of archival photographs and artworks. Told with wit and verve, it reveals a story that arcs from the journeys of immigrants who make up Australia's rich cultural life to the local artistic scenes of Melbourne to the global stage of the art world. Present Tense is an elegant cloth-bound volume featuring full-colour images throughout and a magnificent portrait of Anna Schwartz by artist Jenny Watson on the spine.’
Publishing details: Black Inc., an imprint of Schwartz Books Pty Ltd, 2019 
©2019 
xiii, 449 pages : illustrations (some colour), portraits
Leach Samview full entry
Reference: Sam Leach / essay by Tim Winton ; interview by Andrew Frost ; edited by Artand
Publishing details: Dott Publishing an imprint of Art & Australia, [2015] 
©2015 
109 pages : colour illustrations, portraits
Ref: 1000
Steiner Andrewview full entry
Reference: Andrew Steiner : sculpting essence / Adam Dutkiewicz with contributions from Samela Harris, Christopher Orchard, Graham Strahle and Andrew Steiner. A monograph on the life and work of Holocaust survivor and Adelaide sculptor Andrew Steiner. It features some 140 illustrations and plates of the artist's work.Notes "Adelaide Holocaust Museum and Steiner Education Centre"--Title page verso. Includes bibliographical references.
Publishing details: Moon Arrow Press, 2018, 145 pages : illustrations (chiefly colour), portraits (chiefly colour)
Ref: 1000
Exiled: The Port Arthur Convict Photographsview full entry
Reference: Exiled: The Port Arthur Convict Photograph, by Edwin Barnard. ‘The Port Arthur convict photographs are a remarkable record of the men who were sent from Britain to serve time in Australia between the 1820s and the 1850s. 'Exiled: The Port Arthur Convict Photographs' takes some of these portraits and combines them with biographies of the men - and their female partners - based on transportation records, trial documents, official correspondence, prison files, local and overseas newspaper reports and eyewitness accounts. The result is a fascinating insight into an often misunderstood part of Australia's story, in which these reluctant pioneers become individuals born with strengths and weaknesses; who had hopes and dreams; celebrated victories and mourned tragedies; and made good decisions and bad. In short, they turn out to be men and women very much like ourselves.’ [to be indexed]
Publishing details: Reprint. Square 4to. 224pp, well illustrated. Soft covers.
Ref: 1000
Photographyview full entry
Reference: Exiled: The Port Arthur Convict Photograph, by Edwin Barnard. ‘The Port Arthur convict photographs are a remarkable record of the men who were sent from Britain to serve time in Australia between the 1820s and the 1850s. 'Exiled: The Port Arthur Convict Photographs' takes some of these portraits and combines them with biographies of the men - and their female partners - based on transportation records, trial documents, official correspondence, prison files, local and overseas newspaper reports and eyewitness accounts. The result is a fascinating insight into an often misunderstood part of Australia's story, in which these reluctant pioneers become individuals born with strengths and weaknesses; who had hopes and dreams; celebrated victories and mourned tragedies; and made good decisions and bad. In short, they turn out to be men and women very much like ourselves.’
Publishing details: Reprint. Square 4to. 224pp, well illustrated. Soft covers.
Groblicka Lidiaview full entry
Reference: Lidia Groblicka - Suburban Iconographer - a printmaker's view of life from Poland to Australia / Adam Dutkiewicz
Publishing details: Moon Arrow Press, c2010, 87 p. : chiefly ill.
Ref: 1000
Carbins Malcolm view full entry
Reference: Malcolm Carbins : silent depths : paintings and drawings 1947-2002 / Adam Dutkiewicz, Michele Klik
Publishing details: Moon Arrow Press, c2010, 71 p. : ill., (some col.), ports.
Ref: 1000
Carbins Malcolm view full entry
Reference: Malcolm Carbins interviewed by Hazel de Berg for the Hazel de Berg collection [sound recording] NLA Hazel de Berg collection ; DeB 2
Della Putta Giovanni view full entry
Reference: Giovanni Della Putta : sculture sculptures / Della Putta family ; [photography of plates by Andrew Dunbar]
Publishing details: Prospect, South Australia : The estate of Giovanni Della Putta, ©2015 
111 pages : colour illustrations
Ref: 1000
Amata - Tjala Artistsview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Breakey Kateview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Buck Kimview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Darling Jamesview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Forwood Lesleyview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Fairclough Wendyview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Macfarlane Stewartview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

North Ianview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Rees Annaleseview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

de Rosa Chrisview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Scarece Yhonnieview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Sloan Paulview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Valamanesh Hosseinview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Valamanesh Angelaview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Watson Amy Joyview full entry
Reference: HEARTLAND: Contemporary Art From South Australia by Nici Cumpston & Lisa Slade. [’Delve deeper into HEARTLAND with the exhibition publication. It combines beautiful images from the exhibition with photographs of artists working in their studios and insightful essays written by the Curators and other esteemed authors.’]
Publishing details: Art Gallery of South Australia(distributed through Thames & Hudson), Paperback, 290 x 240 mm, 80 pages, 58 colour illustrations

Hutson Clareview full entry
Reference: Sketchbook of the Dandenongs / text and drawings by Clare Hutson

Publishing details: Kallista, Vic. : N.J. & C.J. Hutson, 1978 
[52]p. : chiefly ill., map
Ref: 1000
Bark Picturesview full entry
Reference: Bark pictures by Margaret Grieve
Publishing details: Kangaroo Press, 1989 
47 p. : ill. (some col.)
Ref: 1000
Bark picturesview full entry
Reference: see Bark pictures by M. Grieve
Publishing details: Kangaroo Press, 1989 
47 p. : ill. (some col.)
Riddle Tohbyview full entry
Reference: Unforgotton by Tobhy Riddle
Publishing details: Crows Nest, N.S.W. : Allen & Unwin, 2012 
1 v. (unpaged) : col chiefly ill. ; 29 cm. 
Ref: 1000
Full Circleview full entry
Reference: Full Circle - Visual Arts Graduates Exhibition 2013. [to be indexed]
Publishing details: South Australian School of Art, 2013
Ref: 1000
Build Me A Cityview full entry
Reference: Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Ref: 1000
Capone Jacobus view full entry
Reference: see Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Coelho Kirsten view full entry
Reference: see Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Cumpston Nici view full entry
Reference: see Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Folland Nicholas view full entry
Reference: see Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Hibberd Lilyview full entry
Reference: see Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Selig Sandra view full entry
Reference: see Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Waters Sera view full entry
Reference: see Build me a city : an exploration of the archives of the Architecture Museum, UniSA by seven artists / Jacobus Capone ... [et al.]
"A collaboration between the Architecture Museum, School of Art, Architecture and Design, UniSA, the Australian Experimental Art Foundation, curator Vivonne Thwaites with Christine Garnaut, Julie Collins and writer Ruth Fazakerley".
This catalogue is published to accompany the exhibition of the same name, held at Australian Experimental Art Foundation, Adelaide, South Australia, 9 November - 8 December 2012.
Includes bibliographical references.
Publishing details: Adelaide, S. Aust. : Architecture Museum and Australian Experimental Art Foundation, 2012 
24 p. : ill.
Sulman Award 1932-1996view full entry
Reference: METCALF, Andrew. ARCHITECTURE IN TRANSITION. The Sulman Award 1932-1996. A look at some of the winners of the architectural prize presented by the NSW chapter of the Australian Institute of Architects from 1932 to 1996 set up as a bequest of the family of Sir John Sulman.
Publishing details: Syd. Historic Houses Trust. 1997. 4to. Col. Ill.wrapps. 136pp. b/w ills. 1st ed.
Ref: 1000
architectureview full entry
Reference: see METCALF, Andrew. ARCHITECTURE IN TRANSITION. The Sulman Award 1932-1996. A look at some of the winners of the architectural prize presented by the NSW chapter of the Australian Institute of Architects from 1932 to 1996 set up as a bequest of the family of Sir John Sulman.
Publishing details: Syd. Historic Houses Trust. 1997. 4to. Col. Ill.wrapps. 136pp. b/w ills. 1st ed.
Threading the Commonwealthview full entry
Reference: DAVIES, Suzanne. (Ed) & RMIT GALLERY. THREADING THE COMMONWEALTH. Textile Traditions, Culture, Trade and Politics. Exhibition Catalogue. As part of Festival Melbourne 2006, the Royal Melbourne Institute of Technology Gallery presented an exhibition of traditional textiles & fabrics from all over the world, including Aboriginal works.

Publishing details: Melb. RMIT Gallery. 2006. 4to. Col.Ill.wrapps. 61pp. Profusely illustrated in colour and black & white.
Ref: 1000
textilesview full entry
Reference: see DAVIES, Suzanne. (Ed) & RMIT GALLERY. THREADING THE COMMONWEALTH. Textile Traditions, Culture, Trade and Politics. Exhibition Catalogue. As part of Festival Melbourne 2006, the Royal Melbourne Institute of Technology Gallery presented an exhibition of traditional textiles & fabrics from all over the world, including Aboriginal works.

Publishing details: Melb. RMIT Gallery. 2006. 4to. Col.Ill.wrapps. 61pp. Profusely illustrated in colour and black & white.
Aboriginal textilesview full entry
Reference: see DAVIES, Suzanne. (Ed) & RMIT GALLERY. THREADING THE COMMONWEALTH. Textile Traditions, Culture, Trade and Politics. Exhibition Catalogue. As part of Festival Melbourne 2006, the Royal Melbourne Institute of Technology Gallery presented an exhibition of traditional textiles & fabrics from all over the world, including Aboriginal works.

Publishing details: Melb. RMIT Gallery. 2006. 4to. Col.Ill.wrapps. 61pp. Profusely illustrated in colour and black & white.
Foley Fionaview full entry
Reference: Fiona Foley: Who are these strangers and where are they going? Curator: Djon Mundine OAM
The National Art School in association with Sydney Festival and Ballarat International Foto Biennale presents Who are these strangers and where are they going? , a 30-year survey of the work of Dr Fiona Foley, one of Australia's most acclaimed, insightful and challenging contemporary artists, curated by Djon Mundine OAM.
Who are these strangers and where are they going? comes to NAS Gallery direct from the Ballarat International Foto Biennale and features a new commission, a soundscape based on the oldest known Aboriginal song documenting the first sighting of Captain Cook in 1770 by the Badtjala people of K’gari (Fraser Island), Foley’s ancestors. Her work always explicitly relates back to the historical research, throwing light on and constantly questioning race relations, cultural assumptions, sexuality and the reality of Aboriginal lives in Queensland around the turn of the 20th century. The exhibition demonstrates her great depth and breadth as an artist.
Image: Fiona Foley, HHH #1, 2004, Hahnemuhle archival inkjet print, 76 x 101 cm, courtesy the artist and Niagara Galleries, Melbourne.
Publishing details: National Art School Gallery, 2019.
Ref: 1000
Sight Linesview full entry
Reference: Sight Lines - Womens Art & Feminist Perspectives in Australia [’This book shows how Australian feminism led to groupings, activities, issues & ideas in the visual arts which have engaged female artists from the 70's. The chapters include: The Women's Art Movement -- Prelude to the 1970s -- 'All Art is Political' -- The Subject of Art & Craft -- In Sight. Numerous color and B&W plates.’] [to be indexed]
Publishing details: Craftsman House & Gordon & Breach, 1992, hc
Mortlock Library view full entry
Reference: Guide to the collections, Mortlock Library of South Australiana / edited by Diana Honey.
Publishing details: Adelaide : Libraries Board of South Australia, 1991. 80 p. : ill. (some col.), facsims., ports.
Angas George Fife collectionview full entry
Reference: see Guide to the collections, Mortlock Library of South Australiana / edited by Diana Honey.
Publishing details: Adelaide : Libraries Board of South Australia, 1991. 80 p. : ill. (some col.), facsims., ports.
Bromley Davidview full entry
Reference: David Bromley : recent works 2003. 17 illustrations. Select biographical details.
Publishing details: Hill-Smith Fine Art, 2004. 20pp
Ref: 138
Kempf Franzview full entry
Reference: Franz Kempf - Past and Present. Catalogue for a two venue exhibition. 'Past' at Kensington Gallery, 18 June - 16 July 2006. 'Present' at BMGArt, 16 June - 8 July 2006. Includes biographical details and and bibliographical references.
Publishing details: Kensington Gallery (Norwood, S.A.)
BMGArt (Gallery), 2pp inc card covers.
Ref: 138
Duterrau Benjaminview full entry
Reference: see KANUNNAH
The Research Journal of the Tasmanian Museum and Art Gallery
Volume 4
Publication Date: 30 June 2011

AN UNSIGNED AND UNDATED PORTRAIT: UNRAVELLING THE MYSTERY OF
FOUR CHILDREN OF JOSEPH TICE GELLIBRAND
Danielle Wood and Erica Burgess

The portrait of the 4 children was first attributed to Duterrau and then to Augustus Earle.

Earle Augustusview full entry
Reference: see KANUNNAH
The Research Journal of the Tasmanian Museum and Art Gallery
Volume 4
Publication Date: 30 June 2011

AN UNSIGNED AND UNDATED PORTRAIT: UNRAVELLING THE MYSTERY OF
FOUR CHILDREN OF JOSEPH TICE GELLIBRAND
Danielle Wood and Erica Burgess

The portrait of the 4 children was first attributed to Duterrau and then to Augustus Earle.

Aboriginal artview full entry
Reference: Peinture aborigène contemporaine des déserts du Centre et de l’Ouest australiens : collection Mark Cordella & Francis Missana : 9 novembre 2007 au 10 février 2008
Catalogue of an exhibition of a major private collection of Central and Western Desert paintings held at the Musée d’Art Moderne et d’Art Contemporain in Nice, France.
Peinture aborigène contemporaine des déserts du Centre et de l’Ouest australiens : collection Mark Cordella & Francis Missana : 9 novembre 2007 au 10 février 2008. The only copy recorded in Australian collections is held in the National Library of Australia.

Publishing details: Nice : MAMAC, 2007. Large quarto (305 x 235 mm), pictorial card covers, 96 pp, illustrated throughout in colour, map.
Ref: 1000
Broadhurst Frankview full entry
Reference: [FRANK BROADHURST] Australian & New Zealand Theatres Ltd., operating J.C. Williamson’s Theatres. Theatre Royal Sydney. Magazine Programme.
Cover with with design by Frank Broadhurst, staple bound, pp 44, black-and-white photographic illustrations, advertisements; with features on the plays Idiot’s delight at the Minerva Theatre in Orwell Street, Kings Cross, starring the suave British actor Henry Mollison and the sultry American star of stage and screen Lina Basquette, and I married an angel at the Theatre Royal, Sydney; Copies are recorded in two Australian collections (State Library of New South Wales; State Library of Queensland).

Publishing details: Sydney : Australian and New Zealand Theatres, Ltd., June 1939. Quarto, original pictorial wrappers
Ref: 1000
May Phil 1864-1903view full entry
Reference: The Tateler, vol IX, number 111, August 12, 1903. Portrait of Philo May on cover and illustrations etc by him included in this edition.
Publishing details: The Tateler, vol IX, number 111, August 12, 1903.
Ref: 1000
McKenzie Alexander view full entry
Reference: The Adventurous Gardener [’A beautifully crafted hard cover coffee table monograph outlining Alexander’s career and works spanning 30 years. Printed in full colour, there are 160 pages detailing all works shown in Alexander’s current survey show hosted by Hazelhurst Regional Arts centre. Encased in a full colour dust jacket, with silk ribbon, this book features essays by Steven Miller and Carrie Kibbler, full biography, early and current works from Alexander’s career, photographs, and information behind the symbolism and details in his paintings. There is a choice of 2 covers.’]
Publishing details: Alexander McKenzie, hc, 2019?
Ref: 1000
Vongpoothorn Savanhdaryview full entry
Reference: Savanhdary Vongpoothorn - All that Arises [’Savanhdary Vongpoothorn’s deeply contemplative work is remarkable in sustaining creative and critical relationships with multiple influences. Marked by an enduring interest in her South-East Asian origins and their relationship to contemporary Australia, her work bridges contemporary realities with historical reference, advancing a practice that is inherently hybrid and polyvalent.
Her practice has been recently extended through a collaboration with noted Japanese tanka poet and calligrapher Noriko Tanaka. The exhibition will feature a major new installation of handmade Japanese paper resulting from this collaboration, which originated in the precincts of the Todai-ji temple complex in Nara, Japan. The exhibition features more than 50 of Vongpoothorn’s works across nearly 25 years, ranging in scale from large triptychs on canvas to intimate works on paper.
This exhibition is curated by Chaitanya Sambrani, art historian, curator and lecturer based at the Centre for Art History and Art Theory, School of Art and Design, Australian National University, Canberra.
‘]
Publishing details: The Drill Hall Gallery, 2019
Ref: 1000
Vongpoothorn Savanhdaryview full entry
Reference: list of various exhibitions:
Savanhdary Vongpoothorn : bindi dot tartan zen
by Vongpoothorn, Savanhdary
Richmond, Vic. : Niagara, 2002
 
Savanhdary Vongpoothorn : Incantation
by Vongpoothorn, Savanhdary
Potts Point, N.S.W. : Martin Browne Fine Art at the Yellow House, 2005
 
Savanhdary Vongpoothorn : the beautiful as force / Savanhdary Vongpoothorn
by Vongpoothorn, Savanhdary
Paddington, NSW : Martin Browne Fine Art, [2013]
 
Savanhdary Vongpoothorn : 3 December - 21 December 2003
by Vongpoothorn, Savanhdary
Potts Point, N.S.W. : Martin Browne Fine Art at the Yellow House, 2003
 
Savanhdary Vongpoothorn : a certain distance : Niagara Galleries, Melbourne, 30 November - 18 December 2004 / Savanhdary Vongpoothorn
by Vongpoothorn, Savanhdary
Richmond, Vic. : Niagara Publishing, 2004
All is burning / Savanhdary Vongpoothorn
by Vongpoothorn, Savanhdary
Paddington, NSW : Martin Browne Contemporary, 2014
 
Savanhdary Vongpoothorn : re-enchantment : 12 November - 7 December 2008 by Vongpoothorn, Savanhdary
Potts Point, N.S.W. : Martin Browne Fine Art, c2008
 
Stone down a well / Savanhdary Vongpoothorn
by Vongpoothorn, Savanhdary
Melbourne : Niagara, 2011
 
Ramayana on the Mekong : Opening: Thursday 29 September 2016, 6-8pm, 29 September - 23 October 2016 / Savahdary Vongpoothorn ; compiler: Dean Andersen ; photography: Brenton...
by Vongpoothorn, Savahdary, 1971-
Paddington, NSW : Martin Browne Contemporary, [2016]

In country / poems by Leon Trainor ; paintings by Sanhdary Vongpoothorn
by Trainor, Leon, 1945-
Woden, A.C.T. : Bat Trang Road Press, 2012
 
Crossing paths : Ildiko Kovacs, Roy Jackson, Savanhdary Vongpoothorn, 11 June - 6 July 2003
Potts Point, N.S.W. : Martin Browne Fine Art, 2003
Publishing details: various
Kovacs Ildiko view full entry
Reference: Ildiko Kovacs - The DNA of Colour. Essays by Daniel Mudie Cunningham and Sioux Garside. To coincide with a survey exhibition at Orange Regional Gallery and The Drill Hall.

Publishing details: Drill Hall Gallery, 2019
Ref: 1000
Linde Ivimeyview full entry
Reference: Linde Ivimey : brave to the bone.
Publishing details: Martin Browne Contemporary, 2014 
1 folded card : colour illustrations ; 22 cm + 1 price list 
Notes Catalogue of an exhibition held at Martin Browne Contemporary, Paddington, New South Wales, 29 May - 22 June 2014.
Ref: 1000
Sutton Dorothy 1922-1986view full entry
Reference: see The Rug Life auction, December 23, 2019, 7:00 PM EST., Richmond, VA, US:
Dorothy Sutton (b. 1922)
Lot 312: DOROTHY SUTTON (1922-1986) - ORIGINAL OIL ON CANVAS - FRAMED - 24in x 20in x 2in. Description: Original oil on canvas by celebrated Australian artist Dorothy Sutton entitles “Autumn”. This is an original oil on canvas showing several dozen people watching a game of rugby, and it came from a Virginia estate. It measures 24in x 20in x 2in, it is signed and framed in a beautiful gold toned frame. This painting is a rare find.
Dimensions: 24in x 20in x 2in
Artist or Maker: DOROTHY SUTTON
Medium: Oil on Canvas
Date: 1969
Condition Report: Excellent
Provenance: Acquired From a Virginia Estate
Notes: About The Artist: Dorothy Sutton is a Postwar & Contemporary Australian artist. Sutton was born in Burma and came to Australia in 1949. She studied at Leeds College and has exhibited in London. Dorothy Sutton's work has been offered at auction multiple times. Dorothy Sutton spent her adult life as a dedicated artist, dividing her time between oil painting, watercolor, and pen-and-ink drawing. She was a student of Olin Travis in Dallas, Texas. She died in 1986 at the age of 64.
Woolrych Francis Humphrey W 1868 - 1941view full entry
Reference: see Helmuth Stone auction, December 15, 2019, 1:00 PM EST Sarasota, FL, US, lot 222, Description: Francis Humphrey W Woolrych (Missouri / Australia, France, 1868 - 1941) Watercolor of a figure near a horse-drawn carriage in an autumnal landscape. Signed lower left. Size: 11 x 7.5 inches.
McKenzie Alexander view full entry
Reference: The Adventurous Gardener.
[’In his first major survey, Alexander McKenzie’s ‘The adventurous gardener’ brings together 42 of the artist’s most significant works, an assortment of celebrity portraits and his signature landscape paintings. For McKenzie, the landscape is both a place for self-reflection and a metaphor for personal journey. While his works have an underlying sense of familiarity, they are more evocative of otherness than a representation of a specific place; they instantly transport the viewer into a dreamlike and otherwise uninhabited world, laden with underlying narratives.’]
[’Alexander McKenzie
By Artist Profile

The first major survey exhibition of Alexander McKenzie showcases forty-two major works tracing a luminous career in painting. Staged at Hazelhurst Arts Centre, ‘The Adventurous Gardener’ canvasses McKenzie’s enduring engagement with imagined environments as metaphorical conduits to exploring personal and historical narratives. Hazelhurst Arts Centre Director Belinda Hanrahan commented on the significance of this show given the Cronulla-based artist’s long personal history with the region as well as his instrumental role in the development of Hazelhurst back in the mid 1990s.



1 / 10












More than many sparrows, 2018, oil on linen, 197 x 350 cm


Created solely from imagination and memory, McKenzie’s uninhabited landscapes have a close affinity with those of Europe and Asia: the islands, lochs, and emerald-coloured hills of his ancestral homeland of Scotland; the ornate and formal Renaissance grounds of France and Italy, and the Edo period gardens of Japan that are loaded with symbolism. They recall the themes of Western symbolist painting and the techniques of the 15th Century Dutch Old Masters, evoking implied narrative whilst retaining the artist’s preoccupation with the effects of light and atmosphere. Sharply observed detail set against dreamy sfumato erects formal links between the visible and the invisible, guiding us into elusive worlds of the familiar and strange. For the artist, the maze of symbols conjures a visual journey reflecting the decisions that all of us must make as we navigate the dense, complex terrain of our lives – from serene moments of quiet solitude to tumultuous times of rapid, firey change.
Centered around the recurring motif of the tree, these otherworldly scenes nurture paradoxical dialogues between transience and eternity, vitality and mortality, spirituality and corporeality. The tree is often a trope for self, and as such the painted arboretums can be read as symbolic self-portraits. ‘I like the idea of looking after a tree as it grows, changing it, clipping it, curating it, bending it, as an overriding symbol of the way I believe we need to do that to ourselves – tended trees become a reference to one’s own soul’, reflects McKenzie.’]
Publishing details: Hazelhurst Regional Gallery & Arts Centre, 2018
Ref: 1000
Linde Ivimeyview full entry
Reference: List of some exhibitions:
Linde Ivimey : 12 September - 7 October 2007, by Ivimey, Linde
Potts Point, N.S.W. : Publisher, 2007
Book
 
Linde Ivimey : 16 September - 11 October 2009, by Ivimey, Linde
Potts Point, N.S.W. : Martin Browne Fine Art, [2009]
 
Linde Ivimey : only the memory : 5 September - 1 October 2006
by Ivimey, Linde
South Yarra, Vic. : Gould Galleries, 2006
Linde Ivimey / Louise Martin-Chew ; Linde Ivimey
by Martin-Chew, Louise
Brisbane : University of Queensland Art Museum, 2012
 
Linde Ivimey : old souls - new work, 7 June to 2 July 2006
by Ivimey, Linde
Potts Point, N.S.W. : Martin Browne Fine Art, [2006]
 
Linde Ivimey : the shape of things : 25 May - 18 June 2017 / compiler: Dan Anderson ; photographer: Jennie Carter
by Ivimey, Linde
Paddington NSW : Martin Browne Contemporary, 2017
Book [text, still image, volume]
 
Close to the bone : Linde Ivimey sculpture / Kelly Gellatly
by Gellatly, Kelly
Bullen, Vic. : Heide Museum of Modern Art, 2003

Publishing details: various
Kovacs Ildiko view full entry
Reference: various catalogues:
Ildiko Kovacs : inner cycle : 27 July - 20 August 2017 / compiler: Dean Andersen ; photography: Stephen Oxenbury
by Kovacs, Ildiko, 1962-
Paddington, NSW : Martin Browne Contemporary, 2017
Book [text, still image, volume]
 
Ildiko Kovacs : looking through
by Kovacs, Ildiko, 1962-
Paddington, NSW : Martin Browne Contemporary, [2014]
Book [still image, volume]
 
Ildiko Kovacs
by Kovacs, Ilona, 1962-
[Paddington, N.S.W, : Martin Browne Contemporary, 2012]
 
Ildiko Kovacs : 5 - 30 May 2004
by Kovacs, Ildiko, 1962-
Potts Point, N.S.W. : Martin Browne Fine Art at the Yellow House, 2004
 
Ildiko Kovacs : roadworks : 30 November - 18 December 2005
by Kovacs, Ildiko, 1938-
Potts Point, N.S.W. : Martin Browne Fine Art at the Yellow House, 2005
 
Ildiko Kovacs : 11 September - 8 October 2001
by Kovacs, Ildiko, 1962-
Potts Point, N.S.W. : Martin Browne Fine Art, 2001
 
Ildiko Kovacs : 4th March - 28th March 2010 : recent works
by Kovacs, Ildiko, 1962-
Potts Point, N.S.W. : Martin Browne Fine Art, 2010
 
Ildiko Kovacs : new work : 23 August - 16 September 2012 / [compiler, Electra Foley ; photography, Stephen Oxenbury]
by Kovacs, Ildiko, 1962-
Paddington, N.S.W, : Martin Browne Contemporary, 2012
 
Ildiko Kovacs : down the line 1980-2010 / Daniel Mudie Cunningham
by Cunningham, Daniel Mudie
Gymea, N.S.W. : Hazelhurst Regional Gallery & Arts Centre, ©2011
Publishing details: various
Langley Edward 1870 - 1949)view full entry
Reference: see The Rug Life, December 23, 2019, 7:00 PM EST, Richmond, VA, US
Timed Auction, lot 130:
Original oil on canvas by celebrated British/American artist Harold S. Etter (1870 – 1949). This is an original oil painting shows several sailing ships, and was a gift to the Langley Families’ Aunt Dora on August 16th, 1926. This painting came from a Virginia estate. It measures 17” x 14” x 1”, it is signed, framed and has a birthday note to Aunt Dora on the back.
Dimensions: 17in x 14in x 1in
Artist or Maker: EDWARD LANGLEY
Medium: Oil on Canvas
Date: 1926
Condition Report: Excellent
Provenance: Acquired from a Virginia Estate
Notes: About The Artist: Born in London, England on March 27, 1870. When quite young Langley was abandoned by his parents in Australia. Making his way to Canada, he traveled alone by canoe down to the Gulf of Mexico. In Chicago he worked with Wm Selig in developing the motion picture camera and became a U.S. citizen in 1904. Before that he had played trumpet in the Illinois State Guard for many years. Sometime before 1917 he came to Hollywood, CA with Selig where they produced the pioneer epic, 'The Spoilers." A few years later Langley became art director for the Fairbanks Studio on such films as "Thief of Bagdad," "Three Musketeers," and "Mark of Zorro." From 1921 until 1934 the Langley home in Los Angeles was a gathering place for artists and the film colony. When not busy with the movies, he was active in the local art scene. As a lecturer at local women's clubs, he used his paintings and special lighting effects to show the moods of the desert. Langley was painting in Japan when war erupted and was a prisoner there until 1943. Returning to California, he lived in Salinas, Laguna, and La Jolla where he taught painting classes. He died in Los Angeles on May 11, 1949, Langley is best known for his southern California desertscapes. Exh: Painters & Sculptors of LA, 1926; Mission Inn (Riverside), 1927; Bullocks (LA), 1929 (solo); Ebell Club (LA), 1920s. In: Desert Hot Springs (CA) Museum; Nevada Museum (Reno). PF; lnvw; CA&A; CD; SCA; DR.

ASTEPHEN GEORGINA C view full entry
Reference: see Peebles Auction House
January 6, 2020, 8:00 PM GMT
Peebles, United Kingdom
Timed Auction. lot 121: GEORGINA C ASTEPHEN AUSTRALIAN untitled oil on board of coastal scene, L: 28.5cm approx W: 21cm approx (coastal scene)
Kimera George view full entry
Reference: see John Nicholsons Fine Art Auctioneer & Valuer, December 18, 2019, 11:00 AM GMT
Haslemere, United Kingdom, lot 272:
George Kimera (20th Century) Australian. An Antipodean Coastal Scene, Watercolour and Pencil, Signed and Dated 1941, 8.5" x 12.25", and a companion piece, a Pair (2).
Wainewright Thomas Griffithsview full entry
Reference: The Fatal Cup: Thomas Griffiths Wainewright and the strange deaths of his relations, by John Price Williams. [’Thomas Griffiths Wainewright, a talented writer, mixed with the leading figures of the literary scene in Georgian London;  as an artist he exhibited at the Royal Academy, but he was also a profligate dandy and swindler. For 150 years he has also been damned as a murderer who poisoned three of his relations to pay his debts.  New research has uncovered quite a different story about his extraordinary life.  ’]
Publishing details: Markosia Enterprises Ltd, 2018, 290pp
Ref: 1009
Wainewright Thomas Griffithsview full entry
Reference: Essays and criticisms by Thomas Griffiths Wainewright now first collected with some account of the author by W. Carew Hazlitt.
Publishing details: London : Reeves & Turner, 1880 
lxxxi, 365 pages, [1] leaf of plates : 1 portrait
Ref: 1009
Wainewright Thomas Griffithsview full entry
Reference: Thomas Griffiths Wainewright in New South Wales / by Tom Kenny
Publishing details: J.C. Trenear, 1974 
256 p. : ill., facsims. Limited edition of 300 copies.
Available from Mr. T. Kenny, 30 Gannon Street, Tempe, N.S.W. 2044.
Ref: 1009
Wainewright Thomas Griffithsview full entry
Reference: see Beckford, Wainewright, De Quincey and Oriental Exoticism. By Imdad Hussain. Karachi University 15 page article in the Pakistani journal of literary criticism, "Venture", "a quarterly review of English language and literature", Vol 1 No 3, other articles deal with "Indo-Pakistani Writers of English Fiction", etc, interesting advertisements, a very scarce publication,
Publishing details: Venture vol 1 no 3, 1960
Wainewright Thomas Griffithsview full entry
Reference: Wainewright, Thomas Griffiths, Gandy, Edward, Marc Vaulbert de Chantilly, ed
Some Passages in the Life, &c. of Egomet Bonmot, Esq. : A Pseudonymous Poem First Published in 1825 Generally Ascribed to Thomas Griffiths Wainewright But Probably the Work of Edward Gany. Edited by Marc Vaulbert de Chantilly
Publishing details: The Vanity Press of Bethnal Green London 2000 1st Edition 36p. Original wrappers. The Thirty-Ninth of a hundred printed on November 27 2000. In superb condition. According to Trove this scholarly work is only held in one Australian library, namely Rare Books at Monash University library.
Ref: 1009
Wainewright Thomas Griffithsview full entry
Reference: Hunted Down, A Story, with Some Account of Thomas Griffiths Wainewright, The Poisoner by Charles Dickens
Publishing details: John Camden Hotten, London, 1870, 89 Pp. + 14 Pp Adverts At End
Ref: 1009
Altmann Charles illustrator 1928-2019 illustratorview full entry
Reference: see Sydney Morning Herald obituary, 16 December, 2019, p35:

Herald illustrator with eye for detail won five Walkleys
By Tim Williams

The Walkley Awards exist to recognise “creative and courageous acts of journalism that seek out the truth and give new insight to an issue. They reward excellence, independence, innovation and originality in storytelling and distinctive reporting." (Walkley Foundation)

Newspaper illustrator Charles Altmann won five of them. He was a modest man; the statuettes remain unseen in the back of a dark dusty cupboard in the storeroom of his Sydney home. In retirement, he was fully engaged in his life-long pursuits of drawing and painting outdoors and playing the ukulele with family and friends. “Never look back”, he used to say. And yet there is much to look back on when you are 91years of age.

Charles Altmann was a keen ukelele player and a lover of nature.
Charles Altmann was a keen ukelele player and a lover of nature.CREDIT:STEVEN SIEWERT
Born Rudolph Karel Altmann in Sukabumi, West Java on January 17, 1928, he was the youngest of five children to engineer Gerardus Karel Herman and Maria Paulina Altmann.

His early life was filled with fun family activities and island holidays surrounded
by servants, fresh fruit and pet monkeys. He had thoughts of following in his father's footsteps or joining his uncle in his automotive business, but the Second World War intervened and Indonesia was soon occupied by the Japanese.
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On his daily walk home from school, it was necessary to run the gauntlet of beatings with sticks from Japanese sentries and then bow respectfully. To obey was to survive.

While at school, the young Rudolph taught himself to draw, a talent which was spotted by an advertising agency in Jakarta who flew him in for a trial in the office. By the end of the first week, it was apparent that illustration was in some way to be his future career. He quit engineering school, packed his bags and started a life as a commercial artist. He never looked back.

The day after the war ended, Sukarno, the first Indonesian president, declared independence and life became even more precarious for Dutch colonials. While in a prison camp Altmann gained favour with the guards by drawing them naked ladies, a creative way to survive and a genre that was perfected in later years.

These world-changing events blew the family apart. His father died at the hands of the Japanese, siblings Mien and Paul settled in Holland while Max and Richard departed for North America. His destiny, however, lay in Australia with a member of the Dutch community in Queensland acting as sponsor.

Upon arrival at Mascot Airport on December 19, 1950, the immigration officer asked for his occupation “I draw pictures” Altmann said. “Drawer” was duly noted on the official form.

Skills as a commercial artist were honed in Brisbane and later in Sydney, having survived the hair-raising journey there on an Indian Motorcycle. He successfully applied for an illustrator’s job in New Zealand, only to discover that a visa was denied on the grounds of being a “non-church-going heathen”.

In 1954, an artist friend arranged a meeting with the art department at the Sydney Morning Herald. Charles joined the Herald in 1954, the heyday of the newspaper’s art department and retired in 1986.

In the 1950’s the art department employed nearly 50 illustrators, cartoonists, press artists, comic strip artists and layout artists. Charles was a talented and prolific draughtsman and was responsible for producing some of the paper’s most memorable double-page spreads.

Among his works was an artist’s impression of "The Future Canberra" and his overview of the Sydney CBD entitled "Sydney Today” showing a partially constructed Sydney Opera House, both drawn in the early '60s.

His ability to visualise the functioning character and spatial quality of a building, structure or machine was extraordinary. The clarity and immediacy of his drawings more than matched modern computer-aided design techniques of representation. He had cause to draw the Opera House on numerous occasions. His cut-away section “An Inside View" showing the proposed interior is a tour de force of spatial representation. He told stories of meeting both architects Jørn Utzon and later Peter Hall to ensure he was faithfully representing their intention for the building.

Not just a technical draughtsman, his drawings of people are full of astute observation and humour. At work, he found himself surrounded by a quirky group of arty bohemian types, many of whom became life-long friends. There are many hilarious stories about the goings-on in the art department. It was also at the Herald that he met Barbara, who he later married and together they raised three daughters.

Sydney Opera House drawn by Charles Altmann former Sydney Morning Herald illustrator.
Sydney Opera House drawn by Charles Altmann former Sydney Morning Herald illustrator.CREDIT:SMH
Away from work and on numerous family camping trips he insisted on being self-sufficient. All the necessary equipment and food was brought along in canned or dried form and nothing fresh was to be purchased along the way. On one trip the trusty family Volkswagen stalled in the middle of a flooding causeway. The river rose so fast that the family had to evacuate through the wind-down windows. They looked on helplessly as the car and everything in it disappeared down the river. A local farming couple took them in. The were lucky to survive but the car didn't – it was later found up in the fork of a tree, full of gravel.

The marriage ended in the mid-'70s and Altmann went travelling for the first time and connected with the siblings he had not seen since childhood.

As a press artist, Altmann went on to win Walkleys in 1958, 1959, 1962, 1968 and 1969, a monumental achievement, but at some cost. In the mid-'80s, the long hours and a health scare prompted his resignation from the Herald and he subsequently had a triple bypass operation. He would go on to survive several other health scares. None of which dampened his enthusiasm for life. He had plenty left.

Not only a self-taught and versatile artist Altmann also taught himself the guitar and ukulele and even developed his own musical notation system, life-long pursuits he enjoyed in retirement along with a good laugh and a sweet cup of coffee.

Altmann is survived by his daughters Anita, Belinda and Yolanda and seven grandchildren.

Tim Williams, architect and son-in-law.

Charles Altmann: January 17, 1928 - November 29, 2019.

McArdle Jamesview full entry
Reference: Phiction : lies, illusion and the phantasm in photography / [curated by] James McArdle (ed.).


Publishing details: Horsham Regional Art Gallery, 2001. 26 p. : ill., ports.
Ref: 1000
Phictionview full entry
Reference: Phiction : lies, illusion and the phantasm in photography / [curated by] James McArdle (ed.).


Publishing details: Horsham Regional Art Gallery, 2001. 26 p. : ill., ports.
photographyview full entry
Reference: see Phiction : lies, illusion and the phantasm in photography / [curated by] James McArdle (ed.).


Publishing details: Horsham Regional Art Gallery, 2001. 26 p. : ill., ports.
Porter Christineview full entry
Reference: Christine Porter: The Hundredth Shearing Shed is a visual exploration of the beauty and diversity of the iconic, Australian shearing shed. The exhibition depicts an historical narrative, portraying an industry vital still to the New England, as well as presenting new work from the artist. “Deeargee”, Uralla is the hundredth shed in her career-long fascination with this subject.
Publishing details: Neram 2018
Ref: 1000
Robinson’s Cupview full entry
Reference: see Robinson’s Cup - an exhibition catalogue of works relating to the silver cup presented to George Augustus Robinson in 1835
Publishing details: Queen Victoria Museum and Art Gallery, 2011, pb, 21pp.
Hampel Carl 1887-1942view full entry
Reference: see eBay listing 22 December, 2019: Carl Hampel (1887-1942) Australian Artist, Mill scene. Carl Hampel (1887-1942) Australian Artist. The Old Mill

Originally a farmer, Hampel turned to painting and studied under Max Meldrum in Melbourne early this century. He was born about 1887 and moved to Tasmania in 1922 but went to live in London the following year. He and his wife and child were killed in an air raid in London in 1942.

Hampel`s style was traditional, painting country scenes and still lifes of flowers. Here he is at home painting a rustic farming scene. Notice the sheep in the foreground, the mountains in the background, and detail of the people in the centre.

Oil on canvas laid down on board

Painting 40 x 30 cms (in frame 60 x 50 cms)
Signed lower right 
McCulloch Rosamond (1905-71) Scotland Australiaview full entry
Reference: McCulloch Rosamund - See EAST BRISTOL AUCTIONS, UK, 27 Dec 2019,
Lot 117. Biography on reverse of painting and illustrated in online catalogue.
Rosamond Anna Veitch McCulloch ( 1905 - 1971 ) - A 1950's Australian / Scottish retro vintage ink painting of a rocky scene. Signed and dated to the corner. Measures; 55cm x 63cm.  Born in Scotland in 1905, Rosamund McCulloch studied in Edinburgh with her father, William McCulloch, and at Hobart Technical College. A painter and teacher, she exhibited her semi-abstract paintings in Tasmania. McCulloch died in Hobart in 1971.

Barsony George view full entry
Reference: See EAST BRISTOL AUCTIONS, UK, 27 Dec 2019, lot 275.
George Barsony - A 1950's Australian retro vintage studio art pottery / ceramic plaster table lamp base bust of a black lady with white top, red lipstick and unusual hairstyle. The woman figure resting against a turned a decorated type column with light fixing to top. Marks to the reverse Rgd 896006. Measures; 40cm. 
Douglas T Kview full entry
Reference: see HANNAM'S AUCTIONEERS 5 Jan, 2020, lot 3130:

T.K. DOUGLAS (Australian) FRAMED SET OF THREE OIL ON CANVAS, “The Bridge”, together with two others similar and gallery letter with biographicam information. 18.5 cm x 24 cm.
Hamilton George illustrated byview full entry
Reference: Dutton (Francis) South Australia and its Mines.
Publishing details: T. and W. Boone, 1846, 5 engraved plates, map, large folding map issued with some copies,
, endpapers
Ref: 1000
Knight J 1918view full entry
Reference: see CHISWICK AUCTIONS, UK, 13 jan, 2020, lot 460:

J KNIGHT (EARLY 20TH CENTURY)
Newcastle, near Sydney, Australia
Signed and dated 1918 (lower right)
oil on canvas
35 x 60 cm

McCulloch Rosamond (1905-71)view full entry
Reference: see Colbille Gallery auction, Australian and International Fine Art Auction
Viewing Friday 19th July - Sunday 21st July
Auction Monday 22nd July, 2019, 6 pm
In 1991, the University of Tasmania received a bequest from the estate of the artist-lecturer, Rosamond McCulloch who had taught at the Tasmanian College of the Arts during the 1950s and 1960s. Rosamond McCulloch's wish was that her bequest should be used to assist a graduate of the School of Creative Arts to travel overseas.
In the spirit of the bequest, then, the University now has a permanent base in Paris. The $100,000 bequest was used to purchase a studio in the world-renowned studio complex, the Cité Internationale des Arts, Paris. The Cité is situated on the right bank of the river Seine, adjacent to Notre Dame on the Ile de la Cité and close to all of the main Paris galleries including the Louvre.
Knight W - William?view full entry
Reference: NLA - NAIDOC Week Curator's Talk, by Nat Williams. Publication date:  6 July, 2016:
The naive watercolour of Collins Street which we see here was speculatively attributed to ‘W Knight’ by collector Rex Nan Kivell, who bought it in London in 1946. His attribution was based on the fact that a very similar lithograph from 1840 exists – he writes this in his spidery hand on the mount for the watercolour – the print is sitting beside it.
The lithograph, perhaps the earliest published view of Melbourne, is by Elisha Noyce and it credits 'W. Knight' as the original painter. A William Knight, a very successful merchant and watercolourist arrived in Hobart from London in 1827, having earlier visited to investigate establishing a business venture there. He stayed, though made a variety of voyages, and documented his travels and surroundings in watercolour. Knight had his portrait taken at least twice in Hobart by leading artists, once by Thomas Bock and also by Thomas Griffiths Wainewright. He also exhibited 7 watercolours in the 1846 Hobart Town Exhibition of Paintings, Engravings, and Watercolour Drawings. At this stage it is not known how or when Knight, came to visit Melbourne and presumably record this view from an elevated position on Collins Street looking to the west.
Comparing these works raises some questions or quandaries. It appears they were produced a year apart; however, the variation between the images is hard to account for. In the foreground of the lithograph, there is a pig, and Noyce also adds sheep walking down Collins Street. The London printer J. Cross has added his initials to the sack on the cart. Noyce’s view is, overall, a more detailed and finished image of the budding city capturing its simple dwellings; it cannot have been taken from the accompanying, supposedly earlier, watercolour. Both images are bisected by the wide and busy promenade of Collins Street, Melbourne’s most famous thoroughfare. It was named after Lieut.-Governor David Collins, who was thwarted in his attempt to settle the area in 1803 and went on to found Hobart. These images are revealing views of Melbourne’s earliest days and we witness a burgeoning township, pre-gold rush and before separation from NSW. Boats connecting Melbourne to the wider world can be seen moored on the Yarra.  The Yuen family group look on, and their presence here tranquilly surveying the scene records their presence still upon their lands.
Publishing details: National Library of Australia, 2016
Noyce Elisha view full entry
Reference: NLA - NAIDOC Week Curator's Talk, by Nat Williams. Publication date:  6 July, 2016:
The naive watercolour of Collins Street which we see here was speculatively attributed to ‘W Knight’ by collector Rex Nan Kivell, who bought it in London in 1946. His attribution was based on the fact that a very similar lithograph from 1840 exists – he writes this in his spidery hand on the mount for the watercolour – the print is sitting beside it.
The lithograph, perhaps the earliest published view of Melbourne, is by Elisha Noyce and it credits 'W. Knight' as the original painter. A William Knight, a very successful merchant and watercolourist arrived in Hobart from London in 1827, having earlier visited to investigate establishing a business venture there. He stayed, though made a variety of voyages, and documented his travels and surroundings in watercolour. Knight had his portrait taken at least twice in Hobart by leading artists, once by Thomas Bock and also by Thomas Griffiths Wainewright. He also exhibited 7 watercolours in the 1846 Hobart Town Exhibition of Paintings, Engravings, and Watercolour Drawings. At this stage it is not known how or when Knight, came to visit Melbourne and presumably record this view from an elevated position on Collins Street looking to the west.
Comparing these works raises some questions or quandaries. It appears they were produced a year apart; however, the variation between the images is hard to account for. In the foreground of the lithograph, there is a pig, and Noyce also adds sheep walking down Collins Street. The London printer J. Cross has added his initials to the sack on the cart. Noyce’s view is, overall, a more detailed and finished image of the budding city capturing its simple dwellings; it cannot have been taken from the accompanying, supposedly earlier, watercolour. Both images are bisected by the wide and busy promenade of Collins Street, Melbourne’s most famous thoroughfare. It was named after Lieut.-Governor David Collins, who was thwarted in his attempt to settle the area in 1803 and went on to found Hobart. These images are revealing views of Melbourne’s earliest days and we witness a burgeoning township, pre-gold rush and before separation from NSW. Boats connecting Melbourne to the wider world can be seen moored on the Yarra.  The Yuen family group look on, and their presence here tranquilly surveying the scene records their presence still upon their lands.
Publishing details: National Library of Australia, 2016
Stanton Ralphview full entry
Reference: see Ikonoclasta32 auction, Lima, PE. Dec 30, 2019. oil - canvas Abstract signed R. Stanton Year 1970s Dimension:30.5 x 40 inches - RALPH STANTON paintings for sale. Originally practicing as a town planner and architect in Western Australia, artist Ralph Stanton has turned his talents to painting. His striking abstract works contain elements of architectural structures. Ralph has been exhibiting regularly since 1996 and his work is represented in collections including King Edward Memorial Hospital and private collections in New York, Tel Aviv, London, and Zurich.
Brophy Elizabethview full entry
Reference: see GARDINER HOULGATE auctions, UK, 16 January 2020, lot 160:
Elizabeth Brophy (20th/21st century) -
Figures in a landscape, signed, oil on canvas board, 9.5" x 14.5" - The artist is an impressionistic painter and has become one of the fastest selling living artists in Ireland today. She was born in Goulburn, Australia and went on to study art at The East Sydney Technical College in 1971 she was presented with the P & O ship company art award which allowed her to travel to Europe. It was t this time she first visited Ireland and went on to live and paint in Portugal for 13 years, returning to Ireland in 1993 and settling in Tinahealy, Co. Wicklow where she has remained. She has exhibited at The Oriel Gallery, The Eight Bells Gallery, Surfer's Paradise Gallery, Dimensions Gallery, E. C. Colares Gallery, Portugal and in The Sheridan Gallery, Brisbane, Australia. Her work regularly sells in both retail galleries and salerooms in Ireland and Australia
Schnars Hugo 1855 - 1939view full entry
Reference: see RICHTER & KAFITZ AUKTIONEN UND KUNSTHANDEL, 25 January, 2020, lot 4000:

Hugo Schnars - Alquist, On Magellan Street (South America)
Hugo Schnars - Alquist: Hamburg 1855 - 1939. Studied at the Berlin Art Academy with H. Gude. Together with Max Liebermann and Walter Leistikow foundation of the "Association of the XI". Numerous international trips to America, Australia, New Zealand and all over Europe etc. made him one of the most learned marine painters. Among other things he visited Magellan Street three times.
Motif: In the darkness of the evening twilight, a sailor and a motorized ship on Magellan Street (to Chile), which connects the Atlantic and the Pacific between Chile and Argentina in the north and Tierra del Fuego in the south. In the background the snow-capped mountain peaks. Probably from the year 1898. On the motif "Magellanstrasse" at Schnars - Alquist emphasizes Hunold, p. 54: "No human hand has ever described these miracles before" and "In South America the name ... was already famous when you were at home .... it was only then that he started to notice him ”(p. 57).
Oil on canvas, signed 'Schnars - Alquist' lower left, 65 x 93 cm, in a wide original frame. Inscribed "Professor Schnars - Alquist Hamburg St. Georg Lindenstrasse 11" on the back of a printed label and titled "Magellan - Strasse" by the artist. In the center a canvas injury (approx. 4 cm vertically), minor missing parts in color, some signs of age. Possibly it is the painting Hunold, p. 106 for the year 1898, No. 5.
Lit .: G. Hunold, Schnars-Alquist. His Life and Art, Bremen 1925. Thieme / Becker Vol. 30, p. 187; Benezit Vol. 12, p. 481.
Kingston Peterview full entry
Reference: Peter Kingston by Barry Pearce (author) ; Lou Klepac (editor) [The art of Peter Kingston]
Publishing details: Roseville, NSW : The Beagle Press, 2019 (hardback)

Ref: 1000
Kingston Peterview full entry
Reference: Rain by Peter Kingston. [’Summary An artist's book including 15 hand finished lino prints on Iwaki Mulberry paper using Sajura oils, and housed in an illustrated wooden box. The folder for the book is a large etching. The work was inspired by the artist's trips to Hinchinbrook Island, Queensland, to meet environmental activist Margaret Thorsborne (1927-2018). The book pits her against the "white shoe brigade" developer Keith Williams (1929-2011), and also provides a visual memoir of other lost aspects of Cairns.
Notes Limited to 5 signed copies.
Layout and assembly by Nicholas Pounder at the sign of the Polar Bear.
Box by Ian McLeod. One of Margaret Thorsborne's paper birds is included in the box. National Library of Australia's copy is no. 3/5.]
Publishing details: [North Sydney, N.S.W.] : The Bush Stone Curlew Press, MMXVIII [2018] 
1 portfolio of 15 prints : coloured illustrations ; 36 cm, in wooden clamshell box (40 x 40 x 4 cm) 

Ref: 1000
Kingston Peterview full entry
Reference: see The sharpest knife in the drawer : Martin Sharp / as remembered by Peter Kingston
1 volume (60 unnumbered pages, 1 foldout) : coloured illustrations (including 1 original linocut) ; 28 cm, in cardboard pizza box (29 x 29 x 4 cm). 
Summary A warm visual and anecdotal memoir of the artist Martin Sharp by Peter Kingston, who knew him best. Martin was a year ahead of Peter at Cranbrook School in Sydney, and they both went on to attend the Universities of Sydney and New South Wales, The Yellow House and the Ginger Meggs Skool of the Arts in Potts Point, and worked together at Luna Park Sydney. They contributed cartoons to Tharunka, Oz, Noise, the National Review and The Arty Wild Oat. They remained good friends for over sixty years until Martin's death in 2013. The memoir contains sixteen short one page chapters illustrated with Martin's brilliant cartoons, plus an original limited edition lino print by Peter after Martin's drawing 'Moloch.'
Notes Design & printing: Nicholas Pounder, Polar Bear Press, Tamarama.
Limited edition of 12 signed copies.
National Library of Australia's copy is no. 2/12.
Publishing details: [North Sydney, NSW] : Ginger Meggs School of the Arts, MMXVIII [2018] 
Sharp Martinview full entry
Reference: The sharpest knife in the drawer : Martin Sharp / as remembered by Peter Kingston

1 volume (60 unnumbered pages, 1 foldout) : coloured illustrations (including 1 original linocut) ; 28 cm, in cardboard pizza box (29 x 29 x 4 cm). 
Summary A warm visual and anecdotal memoir of the artist Martin Sharp by Peter Kingston, who knew him best. Martin was a year ahead of Peter at Cranbrook School in Sydney, and they both went on to attend the Universities of Sydney and New South Wales, The Yellow House and the Ginger Meggs Skool of the Arts in Potts Point, and worked together at Luna Park Sydney. They contributed cartoons to Tharunka, Oz, Noise, the National Review and The Arty Wild Oat. They remained good friends for over sixty years until Martin's death in 2013. The memoir contains sixteen short one page chapters illustrated with Martin's brilliant cartoons, plus an original limited edition lino print by Peter after Martin's drawing 'Moloch.'
Notes Design & printing: Nicholas Pounder, Polar Bear Press, Tamarama.
Limited edition of 12 signed copies.
National Library of Australia's copy is no. 2/12.
Publishing details: [North Sydney, NSW] : Ginger Meggs School of the Arts, MMXVIII [2018] 
Ref: 1000
Holmes Leonview full entry
Reference: see artist’s website: Leon Holmes is an award-winning Australian artist, lecturer and ambassador of Plein Air painting (on location) in the medium of oil.
Born and raised in Perth, Leon’s career started with a wide range of artistic fields including Printmaking, Graphic Design, Art Direction, Illustration and Photography.
Since 2003, Leon is a professional artist painting outdoors in the style of impressionistic realism, just like the old masters did and he is honoured to have one of his paintings hanging amongst Dutch masterpieces in the Katwjik Museum in Holland. Leon works quickly when capturing natural light and colour and used his outdoor sketches as reference when creating larger works in his home studio in Mandurah.
Having resided a number of years in Europe refining his skills and networking with other artists opened the doors for Leon to exhibit and teach alongside the Elite of professional Plein Air Artists at invitational, international art events. Major events to name are the Maui Invitational Plein Air in Hawaii, Forgotten Coast Event in Florida, Art in the Open in Ireland and Katwijk and Noordwijk Plein Air festivals in Holland.
Leon runs locally organised workshops on a regular base and travels as a contracted lecturer to hold workshops wherever it takes him. The artist also enjoys painting people and practises portraiture on a weekly base with a small group he founded in Mandurah in 2015.
Since the beginning of 2019 the artist and his wife Sara run a private gallery open by appointment and are also passionate in sourcing high quality art materials to supply artists with only the finest quality Plein Air Products including Michael Harding Oil Paints and Rosemary and Co Brushes. The Leon Holmes Pochade Paint Boxes are another product available, home designed and constructed and sold through the website and studio door.

Exhibitions
2019 Solo Exhibition - An udder Exhibition, Juniper Galleries, W.A.
2019 Solo Exhibition - Feathers In My Hat, Kidogo Art Space, Fremantle
2018 Maui Invitational Plein Air, Hawaii, USA
2017 Solo Exhibition – Voyage to Venice, Kidogo Art Space, Fremantle, W.A.
2017 Green Acres Gallery, Ireland
2017 Katwijk en Plein Air, Holland
2017 Noordwijk Schilder Festival, Holland
2017 Solo Exhibition – Anchorage, Kidogo Art Space, Fremantle, W.A.
2017 Maui Invitational Plein Air, Hawaii
2016 Forgotten Coast en Plein Air Invitational, Florida, USA
2016 Solo Exhibition – Outback, A&A Gallery, Subiaco, W.A.
2016 Group Show – A&A Gallery, Subiaco, W.A.
2016 Solo Exhibition – Ones & Onlies, Kidogo Art Space, Fremantle, W.A.
2015 Forgotten Coast en Plein Air, Florida, USA
2015 Noordwijk Schilder Festival, Holland
2015 Katwijk en Plein Air, Holland
2015 Solo Exhibition – Greece and Tuscany, Kidogo Art Space, Fremantle, W.A.
2014 Forgotten Coast en Plein Air, Florida, USA
2014 Noordwijk Schilder Festival, Holland
2014 Serifos Island, Greece
2013 PR2 Gallery, Amsterdam
2013 International Plein Air Bergen, Holland
2013 Green Acres Gallery, Ireland
2013 International Plein Air, Golouchow, Poland
2012 Agora Gallery, New York City, USA
2012 Green Acres Gallery, Ireland
2012 Solo Exhibition, Houghton’s Winery, W.A.
2012 Solo Exhibition, Beach Street Gallery, Fremantle
2010–12 Monthly Solo Shows in own gallery, Fremantle, W.A.
2009 Solo Exhibition – The York Mill, York W.A.
2008 Solo Exhibition – Multiplex Commissioned Exhibition, Leighton W.A.
2008 Solo Exhibition – Fremantle Emporium Art Café, W.A.
2007 Solo Exhibition – Fremantle Emporium Art Gallery, W.A.
2007 Solo Exhibition – Fremantle Emporium Art Gallery W.A.
2007 Charity – Leeuwin 25yr Celebration, Fremantle W.A.

Kaldor Johnview full entry
Reference: Journey to now : John Kaldor art projects and collection. Curator: Adam Free.
Published to coincide with an exhibition held at the Art Gallery of South Australia, 18 April-6 July 2003. Includes bibliographical references.
Publishing details: Adelaide : Art Gallery of South Australia, 2003 
16 p. : col. ill. ; 22 cm. 
Notes
Ref: 1000
Kaldor Johnview full entry
Reference: From Christo and Jeanne-Claude to Jeff Koons : John Kaldor Art Projects & collection. Exhibition held at the Museum of Modern Art at Heide, Melbourne from 2 April - 19 May 19996.
Publishing details: Melbourne : Museum of Modern Art at Heide, 1996 
1 folded sheet [14] p. : ill.
Ref: 1000
Kaldor Johnview full entry
Reference: John Kaldor Family Collection : Art Gallery of New South Wales / edited by Wayne Tunnicliffe

Includes bibliographical references (p. 334-336) and index.
Publishing details: Art Gallery of New South Wales  
2011, 341 p. : ill. (chiefly col.) ;
Ref: 1000
Kaldor Johnview full entry
Reference: Making Art Public : kaldor public art projects, 1969 - 2019 / Genevieve O'Callaghan (editor) ; Mark Gowing (editor) ; Hans Ulrich Obrist (author) ; Rebecca Coates (author)
Making Art Public: Kaldor Public Art Projects, 1969 - 2019 is published to coincide with the fiftieth anniversary of Kaldor Public Art Projects and accompanies an exhibition at the Art Gallery of New South Wales, Sydney. Drawing on the extensive Kaldor Public Art Projects Archive, this comprehensive publication reveals never before seen material to chart the trajectory of each of the thirty-five projects from inception to realisation. Making Art Public shows the reader the many elements involved in bringing complex public art projects to life, from artist's drawings and sketches, to research documentation, plans and correspondence. Making Art Public features a collection of essays by leading Australian and international writers: Nicholas Baume, Director and Chief Curator of Public Art Fund, New York; Nicholas Chambers, Curator of Modern and Contemporary International Art, Art Gallery of New South Wales; Rebecca Coates, Director, Shepparton Art Museum, Victoria, Australia; Ross Gibson, Centenary Professor for Creative and Cultural Research, University of Canberra; Ross Harley, Dean, UNSW Art & Design, Sydney; Emily Sullivan, Curator, Kaldor Public Art Projects; and Australian author David Malouf. Central to the publication is a series of interviews with the Kaldor project artists by Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London. These conversations provide unparalleled insight into a variety of artistic approaches and responses over several generations. The book also celebrates Making Art Public, the 35th Kaldor Public Art Project and Art Gallery of New South Wales exhibition curated by acclaimed British artist Michael Landy. The exhibition is both an archival representation and artistic response to the history of the Kaldor projects, and the book documents the exhibition, its public programs and new commissions with Australian contemporary artists.
Publishing details: Kaldor Public Art Projects, 2020.
Ref: 1000
Dunbar Jack Lanaganview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p23-25. Article on this winner of the 2019 Brett Whiteley Travelling Art Scholarship.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Archibald Prizeview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p28. Article on locating ‘missing’ prize winning paintings.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Thomas Danielview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p248-9. Article on upcoming publication of ‘Recent Past: Writing Australian Art 1958-2020’ the first collection of writings by Daniel Thomas, to be published April 2020.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Recent Pastview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p248-9. Article on upcoming publication of ‘Recent Past: Writing Australian Art 1958-2020’ the first collection of writings by Daniel Thomas, to be published April 2020.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Carment Tomview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p48-9. Article on Carment’s drawings of telegraph poles. Illustrated extract from Carment’s book Womerah Lane.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Cotton Oliveview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p55-6. Article on the biography of Olive Cotton.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Fairweather Ianview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p59. Article on the book ‘Ian Fairweather - A Life in Letters’
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Dumbrell Lesleyview full entry
Reference: see Look Magazine, Art Gallery Society of New South Wales, January-February, 2020, p62-3. Article on Dumbrell’s ‘Solstice’ 1974.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, January-February, 2020,
Thorne Rosalie Ann view full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
16.| Rosalie Ann Thorne (Aust., 1850–1927). |After| Conrad Martens (Brit./Aust. 1801–1878).| At The Glebe [NSW],| 1864.| Pencil drawing, titled, annotated “copy C. Martens”, monogrammed and dated “Nov. 8th 1867” lower right, 15.5 x 29.2cm. Slight foxing,
creases. Rosalie Ann Thorne was reputedly a pupil of Conrad Martens. She was a friend of his daughter, Rebecca Martens (Aust., 1836–1909), who was also her mentor. The two friends often went sketching together. Ref: DAAO.
and
19.| Rosalie Ann Thorne (Aust., 1850–1927).| Claremont[RoseBay,NSW],| 1867.| Pencildrawing, titled, initialled twice and dated in pencil lower left and centre, 18.5 x 27.9cm. Slight foxing, minor tears and creases.| Claremont in Rose Bay, NSW, was built from 1851 to 1852 for “Bristol-born Sydney businessman George Thorne (1810–1891) who had migrated to Australia in 1840. He married Elizabeth Ann Bisdee in Hobart in 1842. They had 10 children [one of whom was Rosalie]...George Thorne retained ownership of Claremont until early 1879 but the family did not reside in the house continuously.” Claremont formed the original building of Kincoppal School in 1882. Ref: SLM, DAAO, Kincoppal

and
20.| Rosalie Ann Thorne (Aust., 1850– 1927).|After| ConradMartens(Brit./Aust.1801– 1878).| Point Piper Near Rose Bay [NSW],| 1867.| Pencil drawing, signed “Rosalie”, dated “Sept. 27th 1867”, annotated “copy C. Martens” and titled lower left to right, 20.5 x 30.8cm.
Minor creases and stains. The building seen from the shore is the former stables of Woollahra House, built in 1856 by Sir Daniel Cooper, a colonial merchant and debtor of Captain John Piper. Wyuna Court apartment block
now occupies the site. Ref: Wiki, Walking Coastal Sydney.
Publishing details: Josef Lebovic, 2019, 32pp.
McPherson Donald view full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
17.| |“Chain of Ponds” Bridge, Richmond, NSW,| 1866–1870.| Two architectural drawings and three related manuscript notes in ink, each dated and signed “Donald McPherson”, 9 x 21cm to 38 x 61cm. Old folds, slight foxing and stains, architectural drawings laid down on new backing.| The group.
These documents, by a Donald McPherson, are relating to
the construction of a bridge over the Chain of Ponds Creek,
“a formidable watercourse at flood times”, passing through Richmond and Windsor. The manuscripts include a receipt dated March 1866 from the Richmond Road Trust for 119 pounds, 5 shillings “on account of making [a] bridge over [a] creek at Bell’s as agreed”; a letter dated October 1868 detailing the bridge’s construction, and an invoice dated April 1869 from the “Richmond Road Trust” to D. McPherson for “gravelling & fencing at Chain of Ponds Creek Blacktown Road” for 17 pounds, 10 shillings. The architectural drawings are titled “Chain of Ponds Creek bridge over a gully, 26/10/68”, and “A bridge on the Blacktown Road near Richmond, July 18, 1870,” this one possibly being related to another project. Papers at the time confirm “New Bridge – The Richmond Road Trust have recently had erected over the Chain of Ponds Creek, on the Blacktown Road, a new wooden piled bridge of considerable size and of neat and substantial construction...it has cost £600. Messrs Dixon and Macpherson [sic] were the contractors, and the work reflects much credit upon them.” Ref: |SMH,| 30.11.1864, 26.3.1868.
Publishing details: Josef Lebovic, 2019, 32pp.
Governor Davey’s Proclamation To The Aboriginesview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
38.| |After| | Governor Davey’s Proclamation To The Aborigines, 1816,| c1890s.| Water- colour and ink drawing, captioned in image, 40 x 23.4cm. Tear from upper left edge through upper p ortion of image, stains, slight foxing, old mount burn. This proclamation “presents a four-strip pictogram that attempts to explain the idea of equality under the law. Those who committed violent crimes in Van Diemen’s Land (now Tasmania), be they Aboriginal Australian or European settler, would be punished in the same way.” Incorrectly attributed to Governor Thomas Davey (1758–1823), this proclamation is in fact by Governor George Arthur (1784–1854) from around 1828. The proclamation first appeared painted on a timber board, designed by George Frankland in 1829, and around 100 copies in oil were subsequently produced to be hung on trees. In 1866 the proclamation board was reproduced as a lithograph for display and sale at the Intercolonial Exhibition held in Melbourne. It was mistakenly attributed to Thomas Davey’s governorship of Van Diemen’s Land from 1812 to 1817. The lithographs were reissued again in 1867 for the Paris Exposition Universelle and are now erroneously known as Governor Davey’s Proclamation. This hand-drawn copy of the proclamation is believed to be based on the 1866 lithograph, but was likely done in the 1890s when another issue was reportedly released. At least four variant lithographic images are held in SLNSW, NGA, NLA, NMA. Ref: Wiki.

Publishing details: Josef Lebovic, 2019, 32pp.
Davey Governor -Proclamation To The Aborigines Proclamation To The Aboriginesview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
38.| |After| | Governor Davey’s Proclamation To The Aborigines, 1816,| c1890s.| Water- colour and ink drawing, captioned in image, 40 x 23.4cm. Tear from upper left edge through upper p ortion of image, stains, slight foxing, old mount burn. This proclamation “presents a four-strip pictogram that attempts to explain the idea of equality under the law. Those who committed violent crimes in Van Diemen’s Land (now Tasmania), be they Aboriginal Australian or European settler, would be punished in the same way.” Incorrectly attributed to Governor Thomas Davey (1758–1823), this proclamation is in fact by Governor George Arthur (1784–1854) from around 1828. The proclamation first appeared painted on a timber board, designed by George Frankland in 1829, and around 100 copies in oil were subsequently produced to be hung on trees. In 1866 the proclamation board was reproduced as a lithograph for display and sale at the Intercolonial Exhibition held in Melbourne. It was mistakenly attributed to Thomas Davey’s governorship of Van Diemen’s Land from 1812 to 1817. The lithographs were reissued again in 1867 for the Paris Exposition Universelle and are now erroneously known as Governor Davey’s Proclamation. This hand-drawn copy of the proclamation is believed to be based on the 1866 lithograph, but was likely done in the 1890s when another issue was reportedly released. At least four variant lithographic images are held in SLNSW, NGA, NLA, NMA. Ref: Wiki.

Publishing details: Josef Lebovic, 2019, 32pp.
Cantle John Mitchellview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
36.| J.M. Cantle (Australian, 1849–1919).| [Australian Magpie And Laughing Kookaburra],| c1890s.| Two watercolours, signed lower centre or right, 36 x 26.2cm (each). Slight foxing. Both
in original frames with new mounts.
John Mitchell Cantle was an architectural draughts- man and railway surveyor, but is best known as an ornithological painter, illustrator, cartoonist and postcard
designer. Ref: SLNSW.
Publishing details: Josef Lebovic, 2019, 32pp.
Read C Wview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
52.| |“Poseidon” Winner Melbourne Cup,| 1906.| Watercolour, titled and signed “C.W. Read” lower left to right, 50.3 x 67.8cm. Slight foxing and stains, minor missing portions and repaired tears to edges.|
Poseidon was an Australian Thoroughbred Hall of Fame racehorse who became the first horse to win both the Caulfield Cup and Melbourne Cup in 1906. He is depicted here with his rider, Australian jockey Tom
Clayton (1882–1909). Ref: Wiki.
Publishing details: Josef Lebovic, 2019, 32pp.
Wiese Kview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
71.| |“Kampspiegel Monatshefte” No. 6 (Camp Mirror) [Illustrated WWI Periodical For Prisoners Of War In Australia],| 1918.| Stitch-boundsoftcoverbookletwithcolour linocut cover, 14 pages, 22.1 x 17.4cm. Slight foxing, minor
tears.
descent. Ref: NSW Migration Heritage Centre. Publication details include “vol. 1, no. 6, 29 Sept. 1918.” Captioned “Kriegskameraden. Junge Kookaburras (War comrades. Young kookaburras),” the cover image is by K. Wiese of the Holsworthy Internment Camp which was located in Liverpool, NSW, and was the largest internment camp in Australia during WWI. Most internees were from the Austro-Hungarian Empire, staff of German companies temporarily living in Australia, crews of vessels caught in Australian ports, and naturalised and native-born Australians of German descent.
Publishing details: Josef Lebovic, 2019, 32pp.
Flanagan John Richardview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
78.| John Richard Flanagan (Aust., 1895– 1964).| [Desert Wanderer With Horse In Wait],| c1920s.| Ink drawing, initialled “F.” and signed in image centre and lower right, captioned “front of book” in pencil verso, 14.5 x 20.8cm. Slight foxing, paper loss to margins not affecting image, old mount burn.|A Sydney-born illustrator and cartoonist, Flanagan studied at the Royal Art Society of NSW. In 1916 he left Australia to work in the USA, becoming well- known for his illustrations in several publications including |Collier’s| and |Cosmopolitan.| Ref: DAAO.
Publishing details: Josef Lebovic, 2019, 32pp.
Campbell Margaret E view full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
77.| Margaret E. Campbell (Australian, 1891–1963).| [Art Nouveau Woman With Hat],| c1920s.| Coloured pencil with graphite and wash, 48.8 x 33.7cm. Missing lower left portion, tears, slight foxing, laid down on old backing.|

Provenance: Margaret Campbell estate.
Queensland artist Margaret Campbell was the wife of artist Francis (Frank) Herbert Campbell. Both were illustrators for newspapers and magazines. Ref: JLG.
Publishing details: Josef Lebovic, 2019, 32pp.
Bryant Cuthbert view full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
81.| |[Female Silhouette] and [The Blue Hat],| c1920s.| Two watercolours with ink, signed “Cuthbert Bryant” in ink upper right or left, 7.6 x 7.8cm and 8 x 8cm.
Cuthbert Bryant was the eldest son of Rev. Harry Bryant, rector of the St Paul’s Church of England, Burwood, NSW. Ref: |SMH,| 26.12.1928, 22.6.1935.
Publishing details: Josef Lebovic, 2019, 32pp.
Wallis Cliveview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
Titles of etchings read (1) Bordello Girls, (2) [Contentment], (3) Violation, (4) Prostitution, (5) Drama, (6) [Vanity], (7) [Standing Nude], (8) [Rape], (9) [Grooming], (10) Meat Market, (11) [The Kiss],
(12) Marriage, (13) Death and the Desert. Etchings published and editioned by Josef Lebovic Gallery in 1989. Provenance: Clive Wallis estate in 1988, etching plates only.
Clive Wallis was by all accounts a private man. He studied at Julian Ashton’s Sydney Art School where he was most likely taught etching by Sydney Long. Some of his bookplate designs were published, yet he was not known to have exhibited any work. His erotic art seems to have been a private project, as these etching plates were discovered after his death in the eaves of a large 19th century house in Hunters Hill where he lived with his brother. Ref: JLG.
Publishing details: Josef Lebovic, 2019, 32pp.
Albury Winn view full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
105.| Winn Albury (Aust., 1896–1994).| Collection Of Drawings For Australian Department Store Murals And Other Commercial Work,| c1930s–1959.| Two hundred and thirty-nine (239) items consisting of 224 illustrations in pencil, watercolour, ink or crayon on tissue or butcher’s paper; 10 colour stencils; three screenprints; and two notebooks, some items annotated with instructions for fabrics and production details, sizes range from 7.5 x 10cm to 75.9 x 62cm. Crinkles, creases, old folds, tears and minor perforations, slight stains and offset to some images. A small group of
drawings are linen­backed. This collection from Winn Albury’s estate contains illustrations for department stores as well as individual commissions. Subjects include: children’s nursery rhymes, half of which are illustrated on butcher’s paper, the other half being the same subjects on tracing paper in watercolour; set illustrations of an Aladdin themed production for Grace Bros; women’s fashion illustrations for hats or full outfits; children’s illustrations for nursery decorations; Latin American fiesta and dancing outfits; Renaissance men dressed for the Royal Court, posing in fencing positions; animal illustrations including kangaroos, peacocks and flamingo; maritime, floral and still life illustrations; decorative illustrations including lighting designs, possibly for Thomas Day Co.; Australiana and floral wallpaper designs; colour stencils of flowers; and two notebooks, one filled with illustrated costumes for nursery rhyme
characters, including fabric types and lengths, the other filled with costings for commissions by Grace Bros and Anthony Hordern’s department stores. Also included are newspaper and magazine cuttings of European and American fashions including interiors, wallpaper samples, and stencil transfers. A detailed list is available on request.
A commercial artist and watercolour and portrait painter, Winn Albury studied art at Sydney Technical College and “in the late 1920s travelled to the United States with her sister Ethel. She worked as a commercial artist in California and studied at the Mary Hopkins Academy of Fine Arts in San Francisco. She returned to Australia around 1930 and worked as a commercial artist for several Sydney department stores, including Bebarfalds, Grace Bros and Anthony Hordern’s.” Ref: Sydney Living Museums, who hold many of Winn Albury’s designs.
Publishing details: Josef Lebovic, 2019, 32pp.
Wall Edithview full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
130.| Edith Wall (NZ/Aust., 1904–2012).| [European Street Scene],| c1950s.| Watercolour with ink, signed lower right, 40.6 x 35cm. Repaired tears to edges, minor cockling, old mount burn. Edith Wall, also known by her married name Edith Bayne, was a painter, printmaker, cartoonist and art teacher. She studied art in Rome, London, and at the Sorbonne in Paris, where she also worked as an occasional model. Between 1940 and 1950 she worked “primarily as a cartoonist, producing trenchant, witty and occasionally bleak cartoons for the Ure Smith publications |Australia National Journal| and its companion annual |Australia Weekend Book.|” Many of her cartoons were comments on wartime society, women, and businessmen, “but it was her military cartoons in particular that encouraged the belief that Wall was a man...The artist’s gender was revealed in June 1945 with the publication of a photograph of her by Olive Cotton.” Ref: DAAO;
|SMH,| 26.5.2012.
Publishing details: Josef Lebovic, 2019, 32pp.
Proctor-Brodsky Marjorie view full entry
Reference: see Josef Lebovic Gallery catalogue, Australian & International Medley
Collectors’ List No. 198, 2019.
159.| Marjorie Proctor-Brodsky (Aust., 1898–1985).| Pussito And Vaska Brodsky [Cats Of Law],| c1964.| Two vintage silver gelatin photographs, one titled and annotated and each signed in ink, one with “The Leicagraph Co., Sydney” stamp verso, 14.8 x 18.8cm to 24 x 18.9cm.
Composer and lyricist Margaret (Marjorie) Purvis Proctor married lawyer and writer
George Brodsky in 1941. A resident of Edgecliff, NSW, she was a strong supporter of the Royal Society for the Protection of Animals (RSPCA) and a member of the Cat Protection Society. She actively promoted animal rights.
Publishing details: Josef Lebovic, 2019, 32pp.
Ussher Kathleen (1891–1983)view full entry
Reference: see Inside Story, RECOVERED LIVES
Another brilliant career
ALEXANDRA MCKINNON
8 MARCH 2019
Kathleen Ussher (1891–1983), illustrator, writer, public servantPart of our collection of articles on Australian history’s missing women, in collaboration with the Australian Dictionary of Biography:
Kathleen Ussher’s story of reinvention stretches across much of the twentieth century. She was, at various times, an illustrator, author, civil servant, hospital orderly and Hollywood journalist. Her career took her into literary and cultural circles, connecting her to a generation of successful Australian women, some of whom became prominent historical figures. Most, though, including Ussher herself, have largely disappeared from the historical record.
Florence Emily Kathleen Ussher was born on 19 August 1891 at New Farm in Brisbane. She came from an adventurous family: her father, Captain James Ussher, was a Torres Strait pilot, helping navigate ships through the reefs, and her mother, Florence Eleanor Ussher, escaped the Great Flood of 1893 with Kathleen in one arm and Kathleen’s older sister, Lorna, in the other. The family left Brisbane not long after the flood, and Kathleen was raised primarily in Sydney.
There, from 1901 to 1907, she attended Shirley, a demonstration and training school for girls. Founded by Margaret Hodge and Harriet Newcomb, it aimed to “give the pupils an education which shall develop individual power.” Kathleen epitomised those goals, excelling in French, captaining the swimming team, and becoming school librarian. After Kathleen’s father died unexpectedly on Thursday Island in 1904, Florence Ussher supported her daughters’ careers unconditionally, encouraging them to pursue the interests that would later take them across
the world.
After leaving school, Kathleen briefly joined the public service as a shorthand writer and typist, while continuing to attend drawing classes at night. During this period, her mother and sister moved to Leipzig, Germany, for Lorna to attend the Royal Conservatory of Music. Kathleen joined them in 1912, briefly studying at the city’s Royal Academy of Book Illustration before leaving for London in 1913 to pursue art at Goldsmiths College.
In 1914, she joined Hodge — the former head of Shirley — and Dorothy Pethick on their lecture tour to North America, where they served as unofficial representatives for the Australian women’s suffrage movement. After their arrival in New York in late March, she acted as secretary and press correspondent for Hodge as they visited New York, Chicago and Toronto. Following the tour, she began studying book illustration at the Art Institute of Chicago.
As the first world war continued, Ussher paused her studies and, in May 1915, left for London, where she became embedded in the war effort. During the day she worked with the Royal Australian Navy as a secretary, organising the paperwork for the construction of the HMAS Adelaide; in the evenings she volunteered with the Women’s Reserve Ambulance; on weekends she worked in munitions factories. “Kath’s patriotism,” wrote her friend Miles Franklin, “leads her to go and make munitions on Sundays for a most unpatriotically low wage after working all the week doing a man’s work, for which she is also paid less than a man and jealously kept from expansion.”
In mid 1917 Ussher joined the Scottish Women’s Hospitals alongside Franklin and another friend, Nell Malone (also profiled in this collection). The enduring friendship between these three women is chronicled in Ross Davies’s book Three Brilliant Careers (2015). Ussher and Malone both served with the Girton and Newnham Unit — named after two women’s colleges at the University of Cambridge — of the Scottish Women’s Hospitals in Salonika. Ishobel Ross, another of the Scottish Women, described Salonika as “a most exciting place,” crowded with white houses with Venetian shutters, small stalls spilling out into the streets, and soldiers of every nationality. With their grey uniforms, Scottish Women became affectionately known to their patients as “little grey partridges.” New arrivals soon shortened their skirts to move through the wards. Staff were to call one another by their surnames, although an exception was made for Ethel Hore.

One of Kathleen Ussher’s illustrations — captioned “When the Navy withdrew to a dry place at sea” — from “War Wanderings of an Aussie Girl,” a chronicle of her adventures published in Aussie magazine in February 1921. Australian War Memorial
In 1918, after finishing her term with the Scottish Women’s Hospitals, Ussher applied to join the Women’s Royal Naval Service, popularly known as the Wrens. She accepted an offer of a transfer to Gibraltar, making her one of the first Wrens to be sent on active service. This reflected something of a family tradition: in addition to her father being a sea captain, her great-great-uncle, Admiral Sir Thomas Ussher, had escorted Napoleon to the island of Elba.
Following her return to Australia, Ussher served as secretary of the Ex-Service Women’s Club while continuing to pursue her interest in art. In 1921, she designed a postcard for the Centre for Soldiers’ Wives and Mothers promoting a proposed memorial drinking fountain at the wharf gates at Woolloomooloo. That same year, she also took part in an exhibition of “cabinet pictures and craftwork” organised by the Society of Women Painters, alongside Australian female artists including Hilda Rix Nicholas, Hedley Parsons and Dora Ohlfsen-Bagge. In 1925, she provided the illustrations for Gum-trees, a collection of seven Australian songs.
Ussher’s attention returned to North America, and she joined her mother and sister in Southern California, where she reinvented herself again, working as a Hollywood journalist with a regular byline in the Sydney Mail. Although her column, “Behind the Silver Sheet,” became widely known after she interviewed the popular American actor Mary Pickford, Ussher focused mainly on the rising careers of Australians in Hollywood. She kept her readers in Sydney informed about the activities of then-familiar actors like Louise Lovely, Mae Busch and Snowy Baker. She continued to interview screen stars throughout the decade, but broadened her scope to include Australian novelists and other subjects after she moved to London sometime before 1930. This expansion included a 1931 profile of Henry Handel Richardson — the pen name of Ethel Florence Richardson — which sparked an enduring literary friendship between the women.
Alongside her journalistic career, Ussher began to publish her own books. These included The Cities of Australia, her contribution to “The Outward Bound Library,” in 1928, and Hail Victoria!, a centenary retrospective, in 1934. Both were well received, although a critic did suggest that “possibly her enthusiasms have led her to place our cities on a rather higher plane than is entirely just.”
The latter stages of Ussher’s life are less clear. Following the second world war, she worked in London in the reference library of the Central Office of Information, the successor to the Ministry of Information. She was then appointed to the organisation planning the Festival of Britain, the national exhibition and fair that extended across the United Kingdom in 1951. She remained in England for the rest of her life.
Kathleen Ussher died in England in 1983, aged ninety-two, after a life spent promoting Australian interests around the world and supporting others, particularly other Australian women. Her varied career is best described in her own words, describing her wartime service in London: “Well, you felt like you were doing your bit. That is all there was to it.” •
FURTHER READING
Three Brilliant Careers, by Ross Davies, Boolarong Press, 2015
Her Brilliant Career: The Life of Stella Miles Franklin, by Jill Roe, HarperCollins, 2008
A History of the Scottish Women’s Hospitals, by Eva Shaw McLaren, Hodder and Stoughton, 1919
Publishing details: Inside Story,
8 MARCH 2019.
Davis James d2019view full entry
Reference: James Davis
Publishing details: Qdos Gallery, Lorne Victoria, 2020
Ref: 1000
Kullrich Wview full entry
Reference: New South Wales Bronze Medal, 1862. Diameter: 76 mm. By W. Kullrich [British?], edge uninscribed.
New South Wales Bronze Medalview full entry
Reference: New South Wales Bronze Medal, 1862. Diameter: 76 mm. By W. Kullrich [British?], edge uninscribed.
Moore Mina and Mayview full entry
Reference: see Inside Story, Books and Arts,
The stylish portraits of May and Mina Moore
by Anne Maxwell

In the summer of 1910 a young female photographer arrived in Sydney and took a room alongside the offices of that well-known weekly magazine, the Bulletin. May Moore was in Australia to see if she could build a business as successful as the one she and her younger sister Mina owned and operated in Wellington, New Zealand. Within two years Mina had joined her sister in Australia, running the Melbourne branch of the business while May stayed on in Sydney.
The sisters rapidly acquired reputations as brilliant portraitists working in a style they had developed well before they left New Zealand. A Moore photograph could usually be recognised by head-and-shoulders framing, the frequent use of “Rembrandt lighting” (the face lit from a single artificial source to one side, creating a triangle of light on one cheek), a pencil-thin streak of natural light highlighting the sitter’s profile, rich sepia tones, highly textured decorative mounts, and a likelihood that the subject was a performer or a writer.
May had nursed a passionate interest in theatre and the arts since her youth, and for the whole of the sisters’ careers this influenced their choice of studio location, pictorial style and subjects. May’s decision to set up temporarily in the same building as the Bulletin gave her instant access to the stream of writers, artists and liberal-minded politicians who visited the magazine. Her subsequent moves, first to George Street and then to King Street, ensured that the business was always adjacent to the city’s most important theatres, including the Grand Opera House.
The sisters’ decision to open their Melbourne studio in the new J. & N. Tait Auditorium at the Paris end of Collins Street was no less astute. The Tait brothers were theatrical entrepreneurs, and their building included a concert hall for operas, plays and orchestral concerts. Rehearsals and recitals brought a steady stream of people past Mina’s studio, many of them seeking promotional portraits. Over the next few years Mina’s trade expanded in line with the growth of an “arty” set attracted to that part of Melbourne by its wide, gracious boulevard, the paved flagstone paths fringed with busy clubs and cafes, and the recently relocated Georges department store, with its modish couture garments and copies of the latest Paris fashions.
The Moores’ contemporaries described them as typical “modern women.” They were seeking economic independence and social mobility in what was still considered an unusual industry for women. Even in America, which had experienced the greatest growth in the number of women opening their own photographic studios, women comprised less than 20 per cent of the profession. The Moores’ feminist sympathies were especially evident from their decision to employ men only as darkroom assistants, with women not only taking all managerial and executive responsibility but also wielding the cameras. And when Mina retired from the Melbourne arm of the business she sold it to Ruth Hollick, a woman noted for her feminist sympathies and activities.
Between them the Moores produced hundreds of stunningly beautiful portraits. Most were of Australia’s theatrical performers and leading writers, artists and politicians, as well as other prominent local and international celebrities. The list includes the stage actresses Lilian Birtles, Lily Brayton and Ada Reeve, silent movie actresses Sara Allgood, Dorothy Cumming, Dorothy Lowand Dorothy Dix, opera prima donna Maria Pampari, actors Graham Marr and Edmund Burke, Australia’s second prime minister Alfred Deakin, journalist Howard Ashton, painters Petrus van der Velden and Frederick McCubbin, writers Ted Dyson and Dame Mary Gilmore, poets Henry Lawson, Zora Cross and David McKee Wright, the artistic Lindsay brothers, and Hugh Ward, the famous American-born actor and theatrical entrepreneur who, along with Julius Knight – the most popular figure on the stage in Australasia – had urged May and Mina to make the move to Australia.
The Moores’ Australian venture was so successful that Mina was able to retire comfortably after less than eight years in business, at which point she married the poet-cum-businessman William Tainsh and began raising a family. Her photographs of hundreds of Australian first world war soldiers had added substantially to the sisters’ income between 1914 and 1918, making it a large factor in their financial success. Mina didn’t allow the soldiers’ military status to influence the quality of her work; in keeping with the sisters’ motto, each portrait was executed in the same style they used for stars. May also married; unlike her sister, she kept working, more out of love for her craft than from necessity.
What was it about the Moores’ approach to portrait photography that guaranteed their success over that of many of their rivals? And why was their work so appealing to many members of the public as well as to the artistic set? The sisters were working at a time when, owing to a vast expansion in the numbers of available commercial photographers, fortunes could no longer be made from the trade in ordinary photographic portraiture. Mass production of cameras and printing equipment meant that portrait photography was soon being practised by professional and unprofessional alike.
To survive in this highly competitive environment, ostensibly commercial portrait photographers like the Moores were compelled to offer their clients something special, which invariably meant a signature artistic style. With both originality and individuality at a premium, the realisation that photography could be as highly expressive as painting was often a key to success.
New cultures of modernity were also generating a large audience for images of celebrities. Many of the stage and screen celebrities photographed by the Moores were moving freely across the English-speaking parts of the globe as they sought out new appreciative audiences for their artistic skills, and this invariably brought them to the relatively new urban centres of Wellington, Sydney and Melbourne. The constant publicity that these stars received from the press meant that not only did serious art lovers like the Moores follow the lives of these celebrities, but many members of the general public did so too and they demonstrated their interest by snapping up the Moores’ photographs.
What fascinated the Moores was the human face and what it revealed of the sitter’s personality. This is hardly surprising at a time of growing interest in alternative religions, including the occult, and in the new field of psychology, with its focus on interiority and the psychic life. Also influential around this time were the Aestheticist and Symbolist movements, with their love of art for art’s sake and their rejection of what they saw as the inhospitable, uncaring world of “nature.” Perhaps what should surprise us is the fact that the Moores succeeded in making a comfortable living among this minority element in Australian society.
Among the many highly talented artistic subjects who visited the Moores’ studios was the famous British stage actress Lily Brayton. As the historian Veronica Kelly has written, Brayton’s flair for costume and stage design played no small role in setting the tone for the seasons’ fashions in Australia:
Brayton’s dresses were analysed and consumed as fresh material in the on-going Australian uses of fashion as a vital aspect of self-enunciation and social message… Flemington racecourse, no less than the Theatre Royal, was a public stage, [where] Brayton performed her social role as fashion icon with distinction and personal flair.
A glance at the Moores’ many photographs of actresses bears out these claims and confirms their photographic contribution to an emergent set of fashions based on the elegant and imaginative styles of the theatrical world. The Moores were at the centre of this development, writes Daniel Palmer, because they worked in the period when the influence of theatre costume on men’s and women’s fashions was at its most powerful. The sisters’ photographs of Brayton and other actresses appeared in women’s magazines such as Home as well as in widely circulated literary publications such as the Triad and the Lone Hand.
Brayton singled out the Moores to do all her publicity work in Australia, complaining that the local press was constantly privileging her beauty at the expense of her considerable business skills and remarkable talent for design. She herself never explained what it was that she liked about the Moores’ work, only that, “other things being equal, women can photograph women best.” Besides highlighting the lavishness of Brayton’s costumes and her physical beauty, the Moores emphasised her ability to convincingly play prominent female characters from literature and history. For example, in the famous full-length portrait of 1913 in which Brayton poses as Cleopatra, the overhead lighting falls on her powerfully out-thrust arms and on her sumptuous, Gustav Klimt–style costume, while her legendary lovely face is contorted by a look of feigned anger.
In another portrait from 1913, Brayton is captured playing the role of the unloved Helena in A Midsummer Night’s Dream, her statuesque body and pose providing the perfect foil for the long, graceful lines of her Roman-style toga, with one end hanging elegantly from a shoulder while the other trails delicately along the floor. Brayton, with her right arm thrust behind her head in a melodramatic gesture, is portrayed here as the consummate actress whose every move is aimed at arousing the audience.
A third image produced in 1916 captures Brayton’s facial expression as she plays yet another lead female role, glaring fiercely into the lens of the camera. (This photograph appears in full in the gallery accompanying this article.) By placing the actress against a pitch-dark background and highlighting only one side of her exotic-looking headpiece and her pallid face with its flashing dark eyes, May has captured the atmosphere of passion and intrigue that surrounded the world-famous actress and was one of her hallmarks. It was an effect that was further enhanced by having Brayton only half turn her head toward the camera, since this resulted in the other half remaining tantalisingly in shadow.
Another very colourful personality of the day photographed by the Moores was the woman who in 1923 was crowned Australia’s Queen of Bohemia. This was Dulcie Deamer, a fellow New Zealander (whose portrait appears in the galley above). Taken in 1920, the Moores’ photograph is not as well known as the famous shot taken by a press photographer in 1923 at the Sydney Artists’ Ball, which showed Dulcie wearing a stylish leopard-skin outfit. Nor can it be said to be one of the Moores’ most striking photographs in either an aesthetic or a technical sense. But it is significant for what it reveals of some of the more nuanced and less well-researched aspects of portrait photography in Australia as it emerged in the early years of the twentieth century, and in particular of the sort of personalised portrait photography that was evolving through women’s subjective responses to the more destabilising effects of colonial modernity.
Like the Moores, Dulcie had left her country of birth in order to seek fame and fortune on the international stage; like them she had ended up trying to make it as an artist in Australia. Born in Christchurch, she had already performed several times on stage and had experienced success when at age sixteen she won a prestigious writing competition advertised in the Lone Hand. When published, her winning story was accompanied by illustrations by Norman Lindsay. Less than a year later she was in New York, married to a Sydney-born theatre director named Albert Goldie, who had promised her a career on the stage and engagements in all the leading cultural centres of the world. Unfortunately for Dulcie, Goldie’s theatre company was soon bankrupt. Seven years and six children later the couple divorced and Dulcie was domiciled in Sydney writing journal articles, poems, plays and bestselling novels while her mother raised her children. Dulcie published a total of five novels of which the best known was The Sutee of Safa: A Hindoo Romance (1913) – a fanciful romantic tale partaking of exoticism and sensuality and featuring a passionate heroine who succumbs to a devastatingly handsome but imperious male.
The Moores’ portrait was taken by May when Dulcie, still with Albert, was thirty years old and living back in Australia. A silver-gelatin print carrying all the hallmarks of the Moores’ classic style, including the dramatic natural lighting and velvety sepia tones, it captures Dulcie’s vivacious, irrepressible spirit and something more besides. We see at the back of her striking dark eyes (she claimed to have Spanish and Italian blood) what can only be described as a slightly disconcerted expression, like that of a startled fawn caught in the glare of car lights and uncertain about which way to turn, suggesting that despite being talented, ambitious and extremely attractive there were still aspects of her life over which she had little control.
This returns us to the distinctive feature of the Moores’ style, often remarked on by critics, that sets their work apart from that of many of their contemporaries – their uncanny ability to capture something of their sitters’ thoughts and emotions in addition to their character or personality. What they have captured in Dulcie’s face is something resembling the fragile “lost” look of a person who, despite her best efforts, has not realised her ambitions and does not know why.
We do not know what May, as the photographer, thought of Dulcie, and the latter makes no mention of the sisters in her famous autobiography. Indeed, her only comment about photography was to say, “I’ve never kept photographs, they clutter up the place.” But the sisters may have recognised something of their own inauspicious origins in her life story, as well as something of their own female ambition. They too were from a small town in New Zealand, in their case Wainui, a tiny rural community situated near Wellington; and like Deamer, they had both pursued a career that did not sit easily with motherhood and which involved abandoning New Zealand for brighter lights. On the other hand, unlike her they had confined their ambition to Australia and to a craft with more obvious commercial potential than either acting or writing, and had consequently achieved greater success in both financial and artistic terms.
May and Mina Moore were among a minority of outstanding early Australian photographers who took their passion for art and theatre and used it to produce a thriving commercial practice. Not only did they photograph artists, writers, popular entertainers, actors and theatre people from different parts of the world at a time when new technologies were allowing people to travel faster and more freely across the globe, but they also used their skills to create portraits of well-known people who shared their own cosmopolitan tastes. The increasingly fluid boundaries of trade and the more expansive business and cultural opportunities that characterised colonial modernity meant that for a period of more than twenty years the Moore sisters were able to expand their business without having to move outside the elevated forms of art, the social circles and the kinds of subject matter that interested them most. •
This is an edited extract from Shifting Focus: Colonial Australian Photography 1850–1920, edited by Anne Maxwell and Josephine Croci, published by Australian Scholarly Publishing.
Publishing details: Inside Story, Books and Arts, 12 OCTOBER, 2015
Arnott Margaret view full entry
Reference: see eBay listing, 15 january 2020:
Margaret Arnott (Margaret Oppen).
Titled 'Unwillingly To School'  signed and dated 1926 (in pencil). Print No.6.

Margaret Arnott was born in 1890 in Newcastle. She grand daughter of the founder of Arnott's biscuits, William Arnott. She married Hans Oppen in 1928. Her grand daughter is Monica Oppen, an artist herself in the fields of book art and printmaking, and also a prominent collector of artists' books.
She was a printermaker, cartoonist/ illustrator. Her active period was between 1924 to 1934. After WW2 she focused on embroidery.
Oppen Margaret see Arnott Margaretview full entry
Reference: see eBay listing, 15 january 2020:
Margaret Arnott (Margaret Oppen).
Titled 'Unwillingly To School'  signed and dated 1926 (in pencil). Print No.6.

Margaret Arnott was born in 1890 in Newcastle. She grand daughter of the founder of Arnott's biscuits, William Arnott. She married Hans Oppen in 1928. Her grand daughter is Monica Oppen, an artist herself in the fields of book art and printmaking, and also a prominent collector of artists' books.
She was a printermaker, cartoonist/ illustrator. Her active period was between 1924 to 1934. After WW2 she focused on embroidery.
Armstrong Eview full entry
Reference: see John Nicholsons Fine Art Auctioneer &
January 29, 2020, Haslemere, United Kingdom. Lot 484: E... Armstrong (19th Century) Australian. A Study of Blossom, Oil on Canvas, Inscribed on the reverse 'E. Armstrong, Adelaide, S.A.', 30" x 20". (possibly of wattle).
Ford E Onslowview full entry
Reference: see The Gentleman's Library Sale
by Bonhams
February 13, 2020, lot 543: Of Australian (Melbourne) interest: Edward Onslow Ford (British, 1852–1901): A carved white marble portrait bust of Canon George Frederick Head
the sitter looking slightly to sinister with mutton chop whiskers, wearing a tied white stick and clad, his shoulders clad in drapery, signed and dated to one side E. Onslow Ford, 1876, 70cm high
For further information on this lot please visit the Bonhams website
Provenance
Frederick Waldegrave Head MC & Bar (Australian 1874-1941) was Anglican archbishop of Melbourne, Australia.

Onslow Ford was the son of London businessman Edward Ford and Martha Lydia Gardner who was determined that he should follow his initial strong interests in art. As such he travelled with his mother to the Antwerp Academy where he enrolled as a student of painting. From Antwerp they moved after a time to Munich. There Ford studied under Michael Wagmüller who recommended sculptor. Returning to London in 1874 after marriage, Ford sent his first serious work, a bust of his wife to the Royal Academy of 1875.

Although producing many noted idealised works, most of Ford's major success came in portraiture and depictions of Queen Victoria and General Gordon were particularly highly acclaimed. His busts were always extremely refined and show his sitters at their best and examples in bronze of his fellow-artist Arthur Hacker and another of A.J. Balfour and also in marble of Sir Frederick Bramwell (for the Royal Institution) were celebrated as exact and refined likenesses.
Bosman Richardview full entry
Reference: see about 20 lots at Palm Beach Modern Auctions
West Palm Beach, FL, USA, 9 Feb, 2020:
including
Designer & Manufacturer: Richard Bosman (b. 1944)
Markings/Notes: signed; C.T.P. for the edition of 32; 1984
Country of Origin & Materials: Australian; color woodcut
Dimensions(H,W,D): 38"h, 50"w; 46.25"h, 58"w frame
Additional Information: Gallery and exhibition labels to reverse: Brooke Alexander Gallery, New York, New York | Walker Art Center, Minneapolis, Minnesota, 1984-1985 "Images and Impressions: Painters Who Print" exhibition. Provenance: Brooke Alexander Gallery, New York, New York.

Richard Bosman is a painter and printmaker known for his scenes of dark drama. He draws on pop culture influences such as pulp fiction illustration and crime photography to portray these scenes in a sensational, but slightly kitschy, way. The selected pieces in this auction are among his earlier works, centered around the themes of crime, disaster and turbulent seascapes. Richard Bosman is the recipient of a 1994 Guggenheim Fellowship. His work has been exhibited at The Museum of Modern Art, National Academy Museum, Boston Museum of Fine Arts, and The British Museum and in galleries worldwide.

Contemporary Jewellery - The Australian Experience, 1977-1987view full entry
Reference: Contemporary Jewellery - The Australian Experience, 1977-1987, by Patricia Anderson. Includes index. Bibliography. Includes brief biographical entries on about 70 Australian jewellers.
Publishing details: Syd. Millennium. 1988. 4to. Or.bds. Dustjacket. 192pp. Profusely illustrated in colour.
Shaping Sydneyview full entry
Reference: Shaping Sydney - Public Architecture and Civic Decorum. Alexandria by Chris Johnson. A history of Sydney’s public architecture & public places & the Colonial & Government Architects who designed & built them. From Francis Greenaway’s early buildings to James Barnet’s Victorian splendour. [to be indexed]
Publishing details: Hale & Iremonger. 1999. Folio. Col.Ill.wrapps. 240pp. Profusely illustrated in black & white.
Ref: 1000
architectureview full entry
Reference: see Shaping Sydney - Public Architecture and Civic Decorum. Alexandria by Chris Johnson. A history of Sydney’s public architecture & public places & the Colonial & Government Architects who designed & built them. From Francis Greenaway’s early buildings to James Barnet’s Victorian splendour.
Publishing details: Hale & Iremonger. 1999. Folio. Col.Ill.wrapps. 240pp. Profusely illustrated in black & white.
colonial architectureview full entry
Reference: see Shaping Sydney - Public Architecture and Civic Decorum. Alexandria by Chris Johnson. A history of Sydney’s public architecture & public places & the Colonial & Government Architects who designed & built them. From Francis Greenaway’s early buildings to James Barnet’s Victorian splendour.
Publishing details: Hale & Iremonger. 1999. Folio. Col.Ill.wrapps. 240pp. Profusely illustrated in black & white.
Greenway Francis view full entry
Reference: see Shaping Sydney - Public Architecture and Civic Decorum. Alexandria by Chris Johnson. A history of Sydney’s public architecture & public places & the Colonial & Government Architects who designed & built them. From Francis Greenaway’s early buildings to James Barnet’s Victorian splendour.
Publishing details: Hale & Iremonger. 1999. Folio. Col.Ill.wrapps. 240pp. Profusely illustrated in black & white.
Barnet James view full entry
Reference: see Shaping Sydney - Public Architecture and Civic Decorum. Alexandria by Chris Johnson. A history of Sydney’s public architecture & public places & the Colonial & Government Architects who designed & built them. From Francis Greenaway’s early buildings to James Barnet’s Victorian splendour.
Publishing details: Hale & Iremonger. 1999. Folio. Col.Ill.wrapps. 240pp. Profusely illustrated in black & white.
architectureview full entry
Reference: KINGSTON, Daphne. EARLY COLONIAL HOMES OF THE SYDNEY REGION 1788-1838. Early Colonial Homes of the Sydney Region is an important survey of the remaining homes which were constructed within the first 50 years of the new Colony.
Publishing details: Kenthurst. Kangaroo Press. 1990. 4to. Or.bds. Dustjacket. 96pp. Some fading to dj at spine. Profusely illustrated in black & white.
Early Colonial Homesview full entry
Reference: KINGSTON, Daphne. EARLY COLONIAL HOMES OF THE SYDNEY REGION 1788-1838. Early Colonial Homes of the Sydney Region is an important survey of the remaining homes which were constructed within the first 50 years of the new Colony.
Publishing details: Kenthurst. Kangaroo Press. 1990. 4to. Or.bds. Dustjacket. 96pp. Some fading to dj at spine. Profusely illustrated in black & white.
Ref: 1000
Drawingview full entry
Reference: see The First Ten Years 1993-2002. The First Ten Years, 1993 - 2002. Exhibition Catalogue. The Dobell Drawing Prize is a biennial drawing prize & exhibition held by the National Art School in association with the Sir William Dobell Art Foundation.
Publishing details: Syd. Art Gallery of NSW. 2003. 4to. Col.Ill.wrapps. 48pp. col & b/w ills.
performing artsview full entry
Reference: POTTER, Michelle. & National Library of Australia. A FULL HOUSE. The Esso Guide to the performing arts collections of the National Library of Australia. With an introduction by Robyn Archer. The National Library of Australia’s performing arts collection is diverse & comprises many thousands of items representing the work of hundreds of individuals & organisations. A catalogue.

Publishing details: Canberra. National Library of Aust. 1991. 4to. Col.Ill.wrapps. 179pp. b/w ills.
Full Houseview full entry
Reference: POTTER, Michelle. & National Library of Australia. A FULL HOUSE. The Esso Guide to the performing arts collections of the National Library of Australia. With an introduction by Robyn Archer. The National Library of Australia’s performing arts collection is diverse & comprises many thousands of items representing the work of hundreds of individuals & organisations. A catalogue.[to be indexed]

Publishing details: Canberra. National Library of Aust. 1991. 4to. Col.Ill.wrapps. 179pp. b/w ills.
Ref: 1000
Seidler Harryview full entry
Reference: SEIDLER, Harry. INTERNMENT. The Diaries of Harry Seidler, May 1940-October 1941. Edited by Janis Wilton. Seidler, one of Australia’s most influential architects, was detained while a teenager, as an enemy alien in England
& Canada during the Second World War.
Publishing details: Syd. Allen & Unwin. 1986. Ill.wrapps. 146pp. b/w ills. signed copy
Glebe architectureview full entry
Reference: SMITH, Bernard & Kate. THE ARCHITECTURAL CHARACTER OF GLEBE, SYDNEY. Bernard & Kate Smith examine the architectural character that emerged in Glebe. Originally church land, it evolved into a growing suburb that would eventually merge with other suburbs.
Publishing details: Syd. Sydney University Press. 1989. (rep with corrections) Folio. Or.bds. Dustjacket. 128pp. Profusely illustrated in black & white.
Ref: 1000
Smith Bernardview full entry
Reference: SMITH, Bernard & Kate. THE ARCHITECTURAL CHARACTER OF GLEBE, SYDNEY. Bernard & Kate Smith examine the architectural character that emerged in Glebe. Originally church land, it evolved into a growing suburb that would eventually merge with other suburbs.
Publishing details: Syd. Sydney University Press. 1989. (rep with corrections) Folio. Or.bds. Dustjacket. 128pp. Profusely illustrated in black & white.
Contemporary Art Societyview full entry
Reference: The Contemporary Art Society of NSW and the theory and production of contemporary abstraction in Australia, 1947-1961, by Denise Mary Whitehouse, , 1947-
Published 1999 - thesis (Doctor of Philosophy)
thesis(doctorate)
Subjects
Art, Abstract
Art, Modern
Art and society
Open Access
Summary
Abstract not available
Terms of Use
In Copyright - http:/ / rightsstatements.org/ vocab/ InC/ 1.0/

monash:6119
Publishing details: Monash University, 1999
Ref: 1000
Baldwinson Arthurview full entry
Reference: Arthur Baldwinson: regional modernism in Sydney 1937-1969 by M. Bogle.
Published RMIT University , 2008 Thesis.
This thesis examines the career of Arthur Baldwinson (1908-1969), a Sydney-based modernist architect. It argues that Baldwinson was a central figure in the development of a modernist domestic architecture in Australia from the late 1930s until the late 1950s through his practice as well as his activist role in the development of the Australian design reform and arts organisations: the Modern Architecture Research Group (MARS); the Designers for Industry Association of Australia (DIAA); and the Contemporary Art Society (CAS). It is further argued that Baldwinson designed and built two of Sydney& #039;s first authentically modernist houses before the 1939-45 War and that his subsequent development and refinement of a regional methodology for modernism in Sydney& #039;s domestic architecture is at the centre of the later regionalist styles of the late 1950s and early 1960s currently described as the & quot;Sydney School& quot;. The conclusions argue that significant alterations are required in the historical narratives of Sydney modernist architecture to illustrate the presence of an activist modernist community of shared architectural experiences by the late 1930s and Baldwinson& #039;s presence at the centre of these developments in domestic architecture. The research draws on a broad range of primary and secondary sources. These include the Baldwinson papers at the State Library of NSW, other papers in private collections, contemporary photographs, popular and professional press reports, interviews with surviving associates and students of Baldwinson, scholarly published literature and unpublished theses relating to modernism in Australia and Europe, as well as the international development of a regionalist methodology for architecture adapted by Baldwinson and other Australian practitioners.


Publishing details: RMIT University , 2008
Ref: 1000
Architecture -- Australia view full entry
Reference: see Arthur Baldwinson: regional modernism in Sydney 1937-1969 by M. Bogle.
Published RMIT University , 2008 Thesis

Architecture -- Australia History 20th century
Summary
This thesis examines the career of Arthur Baldwinson (1908-1969), a Sydney-based modernist architect. It argues that Baldwinson was a central figure in the development of a modernist domestic architecture in Australia from the late 1930s until the late 1950s through his practice as well as his activist role in the development of the Australian design reform and arts organisations: the Modern Architecture Research Group (MARS); the Designers for Industry Association of Australia (DIAA); and the Contemporary Art Society (CAS). It is further argued that Baldwinson designed and built two of Sydney& #039;s first authentically modernist houses before the 1939-45 War and that his subsequent development and refinement of a regional methodology for modernism in Sydney& #039;s domestic architecture is at the centre of the later regionalist styles of the late 1950s and early 1960s currently described as the & quot;Sydney School& quot;. The conclusions argue that significant alterations are required in the historical narratives of Sydney modernist architecture to illustrate the presence of an activist modernist community of shared architectural experiences by the late 1930s and Baldwinson& #039;s presence at the centre of these developments in domestic architecture. The research draws on a broad range of primary and secondary sources. These include the Baldwinson papers at the State Library of NSW, other papers in private collections, contemporary photographs, popular and professional press reports, interviews with surviving associates and students of Baldwinson, scholarly published literature and unpublished theses relating to modernism in Australia and Europe, as well as the international development of a regionalist methodology for architecture adapted by Baldwinson and other Australian practitioners.


Modernismview full entry
Reference: see Arthur Baldwinson: regional modernism in Sydney 1937-1969 by M. Bogle.
Published RMIT University , 2008 Thesis

Architecture -- Australia History 20th century
Summary
This thesis examines the career of Arthur Baldwinson (1908-1969), a Sydney-based modernist architect. It argues that Baldwinson was a central figure in the development of a modernist domestic architecture in Australia from the late 1930s until the late 1950s through his practice as well as his activist role in the development of the Australian design reform and arts organisations: the Modern Architecture Research Group (MARS); the Designers for Industry Association of Australia (DIAA); and the Contemporary Art Society (CAS). It is further argued that Baldwinson designed and built two of Sydney& #039;s first authentically modernist houses before the 1939-45 War and that his subsequent development and refinement of a regional methodology for modernism in Sydney& #039;s domestic architecture is at the centre of the later regionalist styles of the late 1950s and early 1960s currently described as the & quot;Sydney School& quot;. The conclusions argue that significant alterations are required in the historical narratives of Sydney modernist architecture to illustrate the presence of an activist modernist community of shared architectural experiences by the late 1930s and Baldwinson& #039;s presence at the centre of these developments in domestic architecture. The research draws on a broad range of primary and secondary sources. These include the Baldwinson papers at the State Library of NSW, other papers in private collections, contemporary photographs, popular and professional press reports, interviews with surviving associates and students of Baldwinson, scholarly published literature and unpublished theses relating to modernism in Australia and Europe, as well as the international development of a regionalist methodology for architecture adapted by Baldwinson and other Australian practitioners.


Boyer Lieutenant Francis Henry view full entry
Reference: see Bonhams auction, London, 26 February, 2020, lots 27 - 63: Lieutenant Francis Henry Boyer (British, 1854-1926)
HM Ships Alert and Discovery leaving Portsmouth for the Arctic Expedition, 1875
signed with initials 'FHB' (lower left), bears title (on mount)
watercolour and gouache, unframed
23.5 x 33cm (9 1/4 x 13in).
Footnotes
The following lots are a fascinating record of Lieutenant Francis H. Boyer's voyages whilst serving in the Royal Navy during the 1870s and early 1880s. They include views in North and South Africa, China, Japan, the Antarctic and Mediterranean. The National Maritime Museum holds four logbooks kept by Boyer on various ships between 1869 and 1876, including HMS Clio, depicted in lots 28 and 57. A folio of watercolours of Bombay and the surrounding area by Boyer was sold by Sotheby's in 1982. In 1893 Lieutenant Francis Henry Boyer assumed the rank Commander on the Retired List.
Lammle Wolgangview full entry
Reference: see WINTER SALE: Jewelry, Fine Art and Collectibles by Sigalas, February 4, 2020, 3:00 PM CET Live Auction, Hildrizhausen, Germany: lot 366, LAMMLE, WOLFGANG Stuttgart 1941 - 2019 Australia Study of a duck. Oil on cardboard, signed and titled verso. 30 x 35 cm,
Roach G T Mview full entry
Reference: see G T M Roach, Australian, 20th Century, oil on canvas, mounted on board, female bathers in a in a natural pond in eucalyptus forest, Special Auction Services
G T M Roach, Australian, 20th Century, oil on canvas, mounted on board, female bathers in a natural pond in eucalyptus forest, signed lower right,... Live Auction
Date: 04 Feb., 2020, Location: NEWBURY, Berkshire, Estimate: 100 - 150 GBP
Mollison Jamesview full entry
Reference: Sydney Morning Herald obituary, 28 January, 2020, p40 written by Valerie Lawson.
Publishing details: SMH, 28.1.2020, p40
Ref: 136
Bown Ian photographerview full entry
Reference: see Light and Shadow Fine Art Gallery, website:
Ian Brown is a fine art nature photographer based in Australia’s world heritage Blue Mountains.  As a lifelong bushwalker, climber and environmentalist, Ian has immersed himself in wild places.  His art arises from an affinity with the natural world and an understanding of its processes.  He particularly enjoys musing around looking for intimate compositions.
Ian tries to make images that are closely observed, strong and evocative, hopefully inspiring, sometimes mysterious, and yet ‘true’ to the subject.  Respecting and valuing the beauty, integrity and richness of nature is crucial to his practice. His photographs have been described as ‘elemental and hugely majestic’ and ‘a monument to the Blue Mountains’. 
Ian has exhibited widely in the Blue Mountains and in Sydney, and his prints are held in many private collections.  His photographs have been used in many conservation campaigns and in numerous books, calendars, magazines and wilderness diaries.  He has been a finalist five times in the prestigious ANZANG nature photography competition.


Artist statement
” The natural world is endlessly fascinating, with infinite levels of detail. For a photographer it can be chaotic and bewildering, and not every scene that makes your heart sing makes a good photograph. Since I prefer a naturalistic style and ‘intimate’ photographs, my first task is to look…a lot…to find potential images with that powerful combination of subject, composition and lighting, and sometimes that special other thing that is beyond both words and thinking. After a lifetime of bushwalking and natural history and a deep connection to nature, I find its easier to ‘see’ images when I understand the particular environment and take my time to tune in. Then I often have to return at a more propitious time!”- Ian Brown 2019
Publishing details: Light and Shadow Fine Art Gallery, website, 2029
Bown Ian photographerview full entry
Reference: from artist’s website:
Ian Brown is a nature photographer who is best known for images of his home territory in the Blue Mountains. He also ranges over much of Australia and beyond.
As a lifelong bushwalker, naturalist, climber and conservationist, Ian immerses himself in wild places. His images arise out of that intimacy and joy, and from his desire to convey the richness and meaning of the natural world. He tries to capture beauty with clarity and integrity.
Our planet’s surviving wilderness is now more threatened than ever before in history. Humanity’s struggle to live within the Earth’s natural limits has become urgent, but has only just begun. Ian hopes his images might help in a small way to secure a place in that future for wild lands, and all the other life that flourishes there.
Ian likes to work in a traditional way with a large format view camera and film when he can. This requires a careful, contemplative approach and a quiet connection to the rhythms of nature. It allows precise control of composition, focus and perspective and offers fine resolution. Digital equipment is often more practical however, and he has used medium format film and 35 mm film in the past.

Ian’s images have been published in numerous magazines, books, diaries, calendars, websites and displays. His photographic prints have been widely exhibited in the Blue Mountains and are held in private and public collections. Ian’s photographs illustrated the official World Heritage nomination for the Greater Blue Mountains Area and he was the main photographer for The Australian Geographic Book of Cape York, Threatened Wonderland: the Gardens of Stone and the acclaimed book A Passion for Place: Gardens of the Blue Mountains.
Ian’s own book Wild Blue: World Heritage splendour of the Greater Blue Mountains (see Publications) has been described as “a monument to the Blue Mountains” (National Parks Journal) and the images as “elemental and hugely majestic” (The Australian). Each year some of his best work appears in the Wild Blue Mountains Calendar (see Publications).
A selection of Ian’s work is represented online by the Light and Shadow Fine Art Gallery.
This website will be progressively updated with more images (especially film work), information and improvements. Please browse the site and contact us if you would like further information about anything.
Publishing details: https://ianbrownphotography.com.au/about/
Looby Keithview full entry
Reference: see SHAPIRO AUCTION - A Collection of Keith Looby Artworks 
from the Estate of Ray Hughes
Timed Online Auction. Auction Closes Tuesday 11 February 11:00am  
Tuesday 11 February 2020 11:00 am
Shapiro Annex Gallery
46 Balfour Street Chippendale
Online Auction
LOT 1
Keith Looby (b. 1940)
Art Student
oil on canvas, signed l.r.c. ‘Looby’, titled and signed verso ‘Art Student, Keith Looby’

Measurements:
201 x 129 cm
ESTIMATE
$500 - $800
Lot Details

LOT 2
Keith Looby (b. 1940)
Untitled (Three Figures)
oil and mixed media on canvas, signed l.r.c. ‘Looby’

Measurements:
204 x 183 cm
ESTIMATE
$600 - $900
Lot Details

LOT 3
Keith Looby (b. 1940)
Self Portrait
oil on canvas, signed l.r.c. ‘Looby’

Measurements:
45.5 x 182 cm
ESTIMATE
$500 - $800
Lot Details

LOT 4
Keith Looby (b. 1940)
Self-Drive Taxi Room
oil on board, signed l.r.c. ‘Looby’, titled verso ‘Self-Drive Taxi Room’

Measurements:
136 x 212 cm
ESTIMATE
$600 - $800
Lot Details

LOT 5
Keith Looby (b. 1940)
Family Portrait with Dog
oil on canvas, signed l.r.c. ‘Looby’

Measurements:
148 x 295 cm
ESTIMATE
$3,000 - $5,000
Lot Details

LOT 6
Keith Looby (b. 1940)
Second Class with Self Portrait, 1979
oil on canvas, signed l.r.c. ‘Looby’, titled verso ‘Second Class with Self Portrait’

Measurements:
174 x 182 cm
ESTIMATE
$2,000 - $4,000
Lot Details

LOT 7
Keith Looby (b. 1940)
North Head Noon
oil on canvas, signed l.r.c. ‘Looby’, titled and signed verso ‘Looby, North Head Noon’

Measurements:
181 x 151 cm
ESTIMATE
$800 - $1,200
Lot Details

LOT 8
Keith Looby (b. 1940)
South Head Five
oil on canvas, signed l.r.c. ‘Looby’, titled verso ‘South Head Five’

Measurements:
182 x 152 cm
ESTIMATE
$800 - $1,200
Lot Details

LOT 9
Keith Looby (b. 1940)
Untitled (Figure with Sun)
oil on masonite, signed l.r.c. ‘Looby’

Measurements:
182 x 121 cm
ESTIMATE
$600 - $800
Lot Details

LOT 10
Keith Looby (b. 1940)
Still Lives Free
oil on canvas, signed l.r.c. ‘Looby’, titled verso ‘Still Lives Free’

Measurements:
166 x 167 cm
ESTIMATE
$700 - $900
Lot Details

LOT 11
Keith Looby (b. 1940)
Untitled (Businessmen)
ink, oil and mixed media on masonite, signed u.r.c. ‘Looby’

Measurements:
149 x 120 cm
ESTIMATE
$500 - $800
Lot Details

LOT 12
Keith Looby (b. 1940)
Untitled (Blue Figure)
oil on canvas, signed l.r.c. ‘Looby’

Measurements:
121 x 121 cm
ESTIMATE
$700 - $900
Lot Details

LOT 13
Keith Looby (b. 1940)
Untitled (Pink Figure)
oil on canvas, signed l.r.c. ‘Looby’

Measurements:
121 x 111 cm
ESTIMATE
$700 - $900
Lot Details

LOT 14
Keith Looby (b. 1940)
Untitled (Figure with Shark)
oil on board

Measurements:
58 x 73 cm
ESTIMATE
$400 - $600
Lot Details

LOT 15
Keith Looby (b. 1940)
Untitled (Portrait Pink and Blue)
oil on card board

Measurements:
101 x 72 cm
ESTIMATE
$500 - $700
Lot Details

LOT 16
Keith Looby (b. 1940)
Untitled (Portrait Blue and Pink)
oil on card board

Measurements:
101 x 72 cm
ESTIMATE
$500 - $700
Lot Details

LOT 17
Keith Looby (b. 1940)
Sir Sydney Money's Favourite, 1988
pastel on paper, signed and dated l.r.c. ‘Looby ’88’

Measurements:
64 x 91 cm
ESTIMATE
$300 - $500
Lot Details

LOT 18
Keith Looby (b. 1940)
Kath & Ned
pastel on paper, signed l.r.c. ‘Looby’, titled ‘Kath & Ned’ verso

Measurements:
59.5 x 80 cm
ESTIMATE
$300 - $500
Lot Details

LOT 19
Keith Looby (b. 1940)
Untitled (Hitchhiker)
ink on paper, signed l.r.c. ‘Looby’

Measurements:
49 x 62 cm
ESTIMATE
$200 - $300

Peron Fview full entry
Reference: F. Péron : naturaliste, voyageur aux terres Australes : sa vie, appréciation de ses travaux, analyse raisonnée de ses recherches sur les animaux vertébrés et invertébrés d’aprèses collections déposées au Museum d’Histoire naturelle.

From Douglas Stewar Fine Books, 2020:
A biography of François Péron (1775-1810), the natural historian and anthropologist on Baudin’s epic scientific expedition to Australia and the Pacific in 1800-04, which also contains a discussion of Péron’s studies of natural history specimens brought back from the Baudin voyage and deposited in the Museum of Natural History in Paris. Péron was commissioned to write the official history of Baudin’s expedition, Voyage de Découvertes aux Terres Australes … sur les Corvettes le Géographe, le Naturaliste et la Goélette le Casuarina, pendant les Années 1800, 1801, 1802, 1803 et 1804 (Paris, 1807-16), but only managed to finish the first part of the account before declining health and ultimately, death, intervened. The work was completed by Louis de Freycinet.
Ferguson 9941.
Publishing details: Paris : J.-B. Ballière et Fils ; Moulins : Enaut, 1857. Second edition. Large octavo (238 x 160 mm), publisher’s printed green wrappers (foot of spine with small area of paper loss and a couple of marks), frontispiece engraved portrait of Péron by Leseur, pp 278; text in French.
Ref: 1000
Baudin Louisview full entry
Reference: see F. Péron : naturaliste, voyageur aux terres Australes : sa vie, appréciation de ses travaux, analyse raisonnée de ses recherches sur les animaux vertébrés et invertébrés d’aprèses collections déposées au Museum d’Histoire naturelle.

From Douglas Stewar Fine Books, 2020:
A biography of François Péron (1775-1810), the natural historian and anthropologist on Baudin’s epic scientific expedition to Australia and the Pacific in 1800-04, which also contains a discussion of Péron’s studies of natural history specimens brought back from the Baudin voyage and deposited in the Museum of Natural History in Paris. Péron was commissioned to write the official history of Baudin’s expedition, Voyage de Découvertes aux Terres Australes … sur les Corvettes le Géographe, le Naturaliste et la Goélette le Casuarina, pendant les Années 1800, 1801, 1802, 1803 et 1804 (Paris, 1807-16), but only managed to finish the first part of the account before declining health and ultimately, death, intervened. The work was completed by Louis de Freycinet.
Ferguson 9941.
Publishing details: Paris : J.-B. Ballière et Fils ; Moulins : Enaut, 1857. Second edition. Large octavo (238 x 160 mm), publisher’s printed green wrappers (foot of spine with small area of paper loss and a couple of marks), frontispiece engraved portrait of Péron by Leseur, pp 278; text in French.
Freycinet Louis deview full entry
Reference: see F. Péron : naturaliste, voyageur aux terres Australes : sa vie, appréciation de ses travaux, analyse raisonnée de ses recherches sur les animaux vertébrés et invertébrés d’aprèses collections déposées au Museum d’Histoire naturelle.

From Douglas Stewar Fine Books, 2020:
A biography of François Péron (1775-1810), the natural historian and anthropologist on Baudin’s epic scientific expedition to Australia and the Pacific in 1800-04, which also contains a discussion of Péron’s studies of natural history specimens brought back from the Baudin voyage and deposited in the Museum of Natural History in Paris. Péron was commissioned to write the official history of Baudin’s expedition, Voyage de Découvertes aux Terres Australes … sur les Corvettes le Géographe, le Naturaliste et la Goélette le Casuarina, pendant les Années 1800, 1801, 1802, 1803 et 1804 (Paris, 1807-16), but only managed to finish the first part of the account before declining health and ultimately, death, intervened. The work was completed by Louis de Freycinet.
Ferguson 9941.
Publishing details: Paris : J.-B. Ballière et Fils ; Moulins : Enaut, 1857. Second edition. Large octavo (238 x 160 mm), publisher’s printed green wrappers (foot of spine with small area of paper loss and a couple of marks), frontispiece engraved portrait of Péron by Leseur, pp 278; text in French.
Lesueur Charles Alexandreview full entry
Reference: see F. Péron : naturaliste, voyageur aux terres Australes : sa vie, appréciation de ses travaux, analyse raisonnée de ses recherches sur les animaux vertébrés et invertébrés d’aprèses collections déposées au Museum d’Histoire naturelle.

From Douglas Stewar Fine Books, 2020:
A biography of François Péron (1775-1810), the natural historian and anthropologist on Baudin’s epic scientific expedition to Australia and the Pacific in 1800-04, which also contains a discussion of Péron’s studies of natural history specimens brought back from the Baudin voyage and deposited in the Museum of Natural History in Paris. Péron was commissioned to write the official history of Baudin’s expedition, Voyage de Découvertes aux Terres Australes … sur les Corvettes le Géographe, le Naturaliste et la Goélette le Casuarina, pendant les Années 1800, 1801, 1802, 1803 et 1804 (Paris, 1807-16), but only managed to finish the first part of the account before declining health and ultimately, death, intervened. The work was completed by Louis de Freycinet.
Ferguson 9941.
Publishing details: Paris : J.-B. Ballière et Fils ; Moulins : Enaut, 1857. Second edition. Large octavo (238 x 160 mm), publisher’s printed green wrappers (foot of spine with small area of paper loss and a couple of marks), frontispiece engraved portrait of Péron by Leseur, pp 278; text in French.
Petit Nicolas-Martinview full entry
Reference: see possibly F. Péron : naturaliste, voyageur aux terres Australes : sa vie, appréciation de ses travaux, analyse raisonnée de ses recherches sur les animaux vertébrés et invertébrés d’aprèses collections déposées au Museum d’Histoire naturelle.

From Douglas Stewar Fine Books, 2020:
A biography of François Péron (1775-1810), the natural historian and anthropologist on Baudin’s epic scientific expedition to Australia and the Pacific in 1800-04, which also contains a discussion of Péron’s studies of natural history specimens brought back from the Baudin voyage and deposited in the Museum of Natural History in Paris. Péron was commissioned to write the official history of Baudin’s expedition, Voyage de Découvertes aux Terres Australes … sur les Corvettes le Géographe, le Naturaliste et la Goélette le Casuarina, pendant les Années 1800, 1801, 1802, 1803 et 1804 (Paris, 1807-16), but only managed to finish the first part of the account before declining health and ultimately, death, intervened. The work was completed by Louis de Freycinet.
Ferguson 9941.
Publishing details: Paris : J.-B. Ballière et Fils ; Moulins : Enaut, 1857. Second edition. Large octavo (238 x 160 mm), publisher’s printed green wrappers (foot of spine with small area of paper loss and a couple of marks), frontispiece engraved portrait of Péron by Leseur, pp 278; text in French.
Gill S Tview full entry
Reference: "BOB" [pseud. of Robert WATT, 1837-1894]
[GOLD RUSH; ABORIGINES] Fra Australien. Reiseskizzer af Bob.
illustrated with numerous wood engravings, many full-page, including several of the Victorian goldfields after S.T.Gill; text in Danish, in double columns;
Publishing details: Kjøbenhavn : Forlagsbureauet i Kjøbenhaven, 1862. First (and only) edition. Quarto, later half cloth over papered boards, bound without the original wrappers, pp 55,
Ref: 1000
Martin Grahameview full entry
Reference: Them also : first mission contact with the primitive Biamis. With numerous reproductions of photographs taken by Keith Dennis, as well as line drawn illustrations by Grahame Martin. From Douglas Stewart Fine Books: It was not until 1965 that the first European contact was made with the Biami people, headhunters living deep in the interior of New Guinea in the Nomad River region, to the east of the headwaters of the Strickland River.
Copies are recorded in four Australian collections (National Library of Australia; Flinders University Library; Jesuit Theological College. Dalton McCaughey Library; Moore Theological College Library).

Publishing details: Port Moresby : Unevangelized Fields Mission Press, 1968. Small octavo (172 x 122 mm), publisher’s pictorial stiff wrappers, 53 pp
Ref: 1000
Dennis Keith photographerview full entry
Reference: see Them also : first mission contact with the primitive Biamis. With numerous reproductions of photographs taken by Keith Dennis, as well as line drawn illustrations by Grahame Martin. From Douglas Stewart Fine Books: It was not until 1965 that the first European contact was made with the Biami people, headhunters living deep in the interior of New Guinea in the Nomad River region, to the east of the headwaters of the Strickland River.
Copies are recorded in four Australian collections (National Library of Australia; Flinders University Library; Jesuit Theological College. Dalton McCaughey Library; Moore Theological College Library).

Publishing details: Port Moresby : Unevangelized Fields Mission Press, 1968. Small octavo (172 x 122 mm), publisher’s pictorial stiff wrappers, 53 pp
Barak William view full entry
Reference: Oil paint and ochre : the incredible story of William Barak and the de Purys. by HAWKING, Karlie; DOYLE, Helen; ALLEN, Max; MURPHY, Joy Wandin.
Catalogue to accompany an exhibtion at the YRRM, August 29 – November 22 2015, which tells the story of the friendship between Wurundjeri leader and artist William Barak, a long-term resident at the Coranderrk Aboriginal Reserve, and the local Healesville Swiss immigrant winemakers, the de Pury family. Many of the artworks and photographs in the exhibition are from the Yeringberg Collection. [’Barak was a Wurundjeri leader who engaged with Guillaume de Pry and his family in the late 19th century. This exhibition featured Barak's drawings, Victor de Pury's paintings and photographs of their families.‘]

Publishing details: Yarra Ranges Regional Museum, [2015]. Quarto, stiff wrappers, 48 pp, illustrated in colour, 2 maps; an as new copy.
Ref: 1009
Thompson Christianview full entry
Reference: Ritual intimacy - 92 pages of colour plates of indigenous multidisciplinary artist Christian Thompson’s work; catalogue essays by Charlotte Day, Brian Catling and Marina Warner; Christian Thomposn and Hetti Perkins in conversation
Publishing details: Caulfield East, Vic. : Monash University Museum of Art, 2017. Small quarto (230 x 170 mm), pictorial card covers, 128 pp,
Ref: 1000
Soul of a cityview full entry
Reference: Soul of a city : the City of Sydney, New South Wales, Australia. Conception: Oswald Ziegler; principal photography: Max Dupain; text: John Thompson. Sydney in the sixties, photographed by Dupain.

Publishing details: Sydney : produced by O. Ziegler Pub., and distributed by Angus & Robertson, [1962]. Quarto, papered boards in illustrated dustjacket pp. [72], illustrated.
Ref: 1000
Dupain Maxview full entry
Reference: Soul of a city : the City of Sydney, New South Wales, Australia. Conception: Oswald Ziegler; principal photography: Max Dupain; text: John Thompson. Sydney in the sixties, photographed by Dupain.

Publishing details: Sydney : produced by O. Ziegler Pub., and distributed by Angus & Robertson, [1962]. Quarto, papered boards in illustrated dustjacket pp. [72], illustrated.
Ziegler Oswald view full entry
Reference: Soul of a city : the City of Sydney, New South Wales, Australia. Conception: Oswald Ziegler; principal photography: Max Dupain; text: John Thompson. Sydney in the sixties, photographed by Dupain.

Publishing details: Sydney : produced by O. Ziegler Pub., and distributed by Angus & Robertson, [1962]. Quarto, papered boards in illustrated dustjacket pp. [72], illustrated.
Gimblett Max NZview full entry
Reference: Max Gimblett : the brush of all things (presentation copy with drawing)
Wystan Curnow, Thomas McEvilley, Barbara Kirshenblatt-Gimblett. Catalogue of an exhibition held at Auckland Art Gallery Toi o Tāmaki, 19 June – 29 August, 2004
Publishing details: Auckland : Auckland Art Gallery, 2004. Quarto, illustrated frenchfold wrappers, pp. 72, illustrated. CD-ROM.
Ref: 1000
Florence Yanniview full entry
Reference: Street porn / Yanni Florence.
“In this large format book of 26 photographs, Yanni Florence identifies and documents the iterations of a specific and highly charged genre of t-shirts.
Publishing details: Melbourne : M.33, 2014. Quarto (350 x 270 mm), linen bound boards with pictorial inlay, pp. [44], illustrated. Limited to 50 copies signed and numbered by the artist.
Ref: 1000
Etchings by non etchersview full entry
Reference: Etchings by non etchers
Images by Curtis Hore, Rodney Broad, Greg Bell, Joris Everaerts, Lorraine Jenyns, Terry O’Malley, Bob Jenyns, Frieda Beukenkamp, for the 1987 Fundraising Project of Chameleon.  Concept and realization, Frieda Beukenkamp , cover by Greg Bell and Frieda, binding by Quality Binding. A limited edition of 50. This number 27. [to be indexed]
Publishing details: [Hobart] : Chameleon Inc., 1987. Folio
Ref: 1000
Black and white books
view full entry
Reference: Black and white books
Artist book exhibition, 4-20 August 2005. Curated by Anne Marie Power, Gail Stiffe and Marianne Little. Catalogue of an artists’ book exhibition 4-20 August 2005 presented by Papermakers of Victoria Incorporated. Artists include Katherine Nix, Alex Sutherland, Thea Laidlaw, Lyn Dickson etc. [to be indexed]
Publishing details: [Fitzroy, Vic. : Artisan Books, 2005]. Single sheet, folded, in handmade card covers.
Ref: 1000
Morris Ethel Jackson (1891-1985) artist and children’s book illustratorview full entry
Reference: see Douglas Stewart Fine Books, January, 2020: A pair of coloured opalotype portrait photographs of James Jackson Morris and his wife Jessie, the parents of artist Ethel Jackson Morris. Melbourne, circa 1891.
Two milk glass positives (opalotypes) overpainted in watercolour, each 150 x 105 mm (sight), window mounted in their original glazed frame, 350 x 450 mm, verso with photographer’s printed label ‘J. Duncan Peirce, Photographic Studio, “The Hermitage”, Alma Road East, between Westbury and Hotham Sts., St. Kilda East’, and later handwritten note ‘Parents of Ethel Jackson Morris, children’s book illustrator. Watercolour on ceramic glass’; the opalotype of Ethel’s mother has a hairline crack at upper left, there is scattered foxing across the card mount, and the velvet covering on the timber frame is worn.
Ethel Jackson Morris (1891-1985), artist and children’s book illustrator, was the daughter of Melbourne iron merchant James Jackson Morris (1860-1920) and his wife Jessie (née Murray Smith, 1860-1941). James had inherited the successful iron and hardware firm established by his father, John, in Little Collins Street. He was a wealthy man and owned several properties, including a jersey cattle stud at Clarendon Eyre (near present-day Nunawading) named after the family home in Malvern, and a property in Bulleen. An accomplished athlete, he also captained the Melbourne Football Club for several years in the 1880s. His other avocation was horticulture, and he served as president of the National Rose Society for three years. James married Edinburgh-born Jessie Murray Smith on 18 March, 1891, at Elsternwick. Jessie was the daughter of Scottish poet and essayist Alexander Smith (1829-1867). The couple most likely visited J. Duncan Peirce’s Alma Road studio to have their expensive opalotype portraits made in the early days of their marriage.
James and Jessie’s first child, Ethel, was a talented artist. She attended the National Gallery School in Melbourne from 1910 until 1920. During that time she illustrated works and exhibited with the Victorian Artists’ Society, and worked alongside artists such as Harold Gaze and Ethel Spowers. She published her first book for children, Among the Fairies, in 1909, when she was just 17. Her second book, The White Butterfly, was released in 1921. In 1922 she travelled to Europe and studied in the Royal Academy of Art and visited Paris. She returned to Australia in 1923 and settled in Sydney.

Peirce J Duncan Photographerview full entry
Reference: see Douglas Stewart Fine Books, January, 2020: A pair of coloured opalotype portrait photographs of James Jackson Morris and his wife Jessie, the parents of artist Ethel Jackson Morris. Melbourne, circa 1891.
Two milk glass positives (opalotypes) overpainted in watercolour, each 150 x 105 mm (sight), window mounted in their original glazed frame, 350 x 450 mm, verso with photographer’s printed label ‘J. Duncan Peirce, Photographic Studio, “The Hermitage”, Alma Road East, between Westbury and Hotham Sts., St. Kilda East’, and later handwritten note ‘Parents of Ethel Jackson Morris, children’s book illustrator. Watercolour on ceramic glass’; the opalotype of Ethel’s mother has a hairline crack at upper left, there is scattered foxing across the card mount, and the velvet covering on the timber frame is worn.
Ethel Jackson Morris (1891-1985), artist and children’s book illustrator, was the daughter of Melbourne iron merchant James Jackson Morris (1860-1920) and his wife Jessie (née Murray Smith, 1860-1941). James had inherited the successful iron and hardware firm established by his father, John, in Little Collins Street. He was a wealthy man and owned several properties, including a jersey cattle stud at Clarendon Eyre (near present-day Nunawading) named after the family home in Malvern, and a property in Bulleen. An accomplished athlete, he also captained the Melbourne Football Club for several years in the 1880s. His other avocation was horticulture, and he served as president of the National Rose Society for three years. James married Edinburgh-born Jessie Murray Smith on 18 March, 1891, at Elsternwick. Jessie was the daughter of Scottish poet and essayist Alexander Smith (1829-1867). The couple most likely visited J. Duncan Peirce’s Alma Road studio to have their expensive opalotype portraits made in the early days of their marriage.
James and Jessie’s first child, Ethel, was a talented artist. She attended the National Gallery School in Melbourne from 1910 until 1920. During that time she illustrated works and exhibited with the Victorian Artists’ Society, and worked alongside artists such as Harold Gaze and Ethel Spowers. She published her first book for children, Among the Fairies, in 1909, when she was just 17. Her second book, The White Butterfly, was released in 1921. In 1922 she travelled to Europe and studied in the Royal Academy of Art and visited Paris. She returned to Australia in 1923 and settled in Sydney.

Patten R A photographerview full entry
Reference: Taronga Zoological Park Trust
Official illustrated guide to Taronga Zoological Park and Aquarium : Sydney, New South Wales, Australia.
illustrated with photographs by R. A. Patten.
Publishing details: Sydney : [Taronga Zoological Park Trust, 1954]. Oblong octavo, illustrated wrappers, pp. [80],
Ref: 1000
Bott G Wview full entry
Reference: Morphic fields“G. W. Bot is an Australian printmaker, painter and sculptor who has held 228 solo exhibitions in Sydney, Melbourne, Canberra, Brisbane, London, Paris, Los Angeles and Manila.
Publishing details: London : Hart Gallery, 2004. Quarto, publisher’s illustrated stiff wrappers (small mark to front), 28 pp, with colour illustrations throughout;
Ref: 1000
Mitchell Bessie (1905-1977))view full entry
Reference: see Sydney Rare Book Auctions
February 8, 2020, lot 167: Bessie Mitchell Viking Press Prelude Series. Kaleidoscope.
Bessie Mitchell (Bessie Jean Thompson Guthrie (1905-1977)) studied design at East Sydney Technical College (1921) and later became a furniture designer for Grace Brothers. She was also friends with Hal Missingham, Kenneth Slessor and Dulcie Dulmer who encouraged her to write about design. Her articles were published in the Australian Woman's Mirror and the Australian woman's weekly. Enthusiastic about writing and design she began her own publishing firm, Viking Press. Bound together in their original wrappers are four of the firm's earliest published works from the Prelude Series which are also decorated by Mitchell. Included are: 1) Kaleidoscope by Dorothy Auchterlounie (Dorothy Green's first published work.) 1940 limited 250 copies. 2) The Breaking of the Drought by Harley Matthews 1940 limited 1000 copies. Signe on the half title page by both Mitchell and Matthews. 3) The Untrammelled by Betty Riddell, limited 250 copies. 4) The Map by Elisabeth Lambert 1940, limited to 250 copies. Pervious own Peter Bishop on three of the four books. Some spots, else very good.
Guthrie Bessie Jean Thompson (1905-1977))view full entry
Reference: see Sydney Rare Book Auctions
February 8, 2020, lot 167: Bessie Mitchell Viking Press Prelude Series. Kaleidoscope.
Bessie Mitchell (Bessie Jean Thompson Guthrie (1905-1977)) studied design at East Sydney Technical College (1921) and later became a furniture designer for Grace Brothers. She was also friends with Hal Missingham, Kenneth Slessor and Dulcie Dulmer who encouraged her to write about design. Her articles were published in the Australian Woman's Mirror and the Australian woman's weekly. Enthusiastic about writing and design she began her own publishing firm, Viking Press. Bound together in their original wrappers are four of the firm's earliest published works from the Prelude Series which are also decorated by Mitchell. Included are: 1) Kaleidoscope by Dorothy Auchterlounie (Dorothy Green's first published work.) 1940 limited 250 copies. 2) The Breaking of the Drought by Harley Matthews 1940 limited 1000 copies. Signe on the half title page by both Mitchell and Matthews. 3) The Untrammelled by Betty Riddell, limited 250 copies. 4) The Map by Elisabeth Lambert 1940, limited to 250 copies. Pervious own Peter Bishop on three of the four books. Some spots, else very good.
Bell Guilford architectview full entry
Reference: The Life Work of Guilford Bell, Architect, 1912-1992. Edited by Leon Van Schaik. Researched and compiled by Ronnen Goren Colour Photography by Fiona Macdonald.
Publishing details: Melbourne Bookman Transition Publishing 1999. Softcover 303 pages
Ref: 1000
Murcutt Glenview full entry
Reference: Three Houses: Glenn Murcutt (Architecture in Detail). By J. Hewitt & A. Browell (illustrator).
Publishing details: Phaidon, London, 1993. 1st Edition. Quarto softcover. Colour and b/w photographs, illustrations and drawings.
Ref: 1000
Abbott Clemview full entry
Reference: see lot 1433, Saturday 15 Feb 2020, Pforzheim, Kiefer (auction)
Abbott, Clem
(1939 Australia 1989). 3 sheets with central australian landscapes, tls. with ghost gum trees. Watercolours on cardboard. Each approx. 26 x 36.5 cm. Under re. sign. Glued behind passep. ╔Dabei: John H. Raymond╗ (20th and 21st centuries, Australia). Typical Outback Scene near Alice Springs. Acrylic on Lwd. mounted on cardboard. 22.5 x 30 cm. Lower left sign. Add. 4 sheets

and
Abbott, Clem
(1939 Australia 1989). 4 sheets with central australian landscapes, tls. with Ghost Gum Trees. Watercolours on cardboard. Each approx. 26 x 35.5 cm. Under re. sign. Glued behind passep.
Prichard James Cowles Attribview full entry
Reference: see lot 35, Orange County Estate Liquidators
Otisville, NY, USA, 8.3.2020,
Australians of King Georges Sound 1855, Native of Anaiteum

Aquatint with original hand colour.

Artist: Attrib James Cowles Prichard
Print Type: Hand Colored Engraving
Date: 1855
Publisher: Brooks & Harrison
Demensions: 9 1/2 x 6"
Provenance: Hill House
Subject: Anthropology
Notes & Literature: James Cowles Prichard, FRS was a British physician and ethnologist with broad interests in physical anthropology and psychiatry. His influential Researches into the Physical History of Mankind touched upon the subject of evolution
Condition Report: Very Good.
Subject References: Published Natural History of Man
Ashton Julian and Howardview full entry
Reference: see Antipodean Books, Maps & Prints ~ David & Cathy Lilburne, ELIST 42 (2020) ~ EPHEMERA, PHOTOGRAPHS, MAPS, NEW YORK CITY, AUSTRALIA:
(Ashton, Julian & Howard.) "In Celebration of the Opening, Parliament of the Commonwealth of Australia. To meet Their Royal Highnesses The Duke and Duchess of Cornwall & York. A 1901 Invitation to an Evening Reception at the Exhibition Building, Melbourne". Melbourne: Sands & McDougall Limited, 1901. A color printed invitation to an evening reception held at the Exhibition Building, Melbourne, on the evening of 9th May 1901, with the name of the guest written in ink (Mr. T. Dewez and Lady). By the prominent Australian artist Julian Ashton. With two allegorical female figures, Britannia at the left, holding an oval shield with the Union Jack, and Victoria at the right, holding a blue and silver shield of the colony of Victoria. The design within a border of oak leaves, with an embossed stamp of the British coat of arms with gilt embellished lion and a silver gilt unicorn at the center of lower border. A smattering of light foxing on the mat board, overall very good. 11 1/2 x 9" invitation, laid down on original pale green mat. Bib ID 1188790.


Lindsay Normanview full entry
Reference: see Antipodean Books, Maps & Prints ~ David & Cathy Lilburne, ELIST 42 (2020) ~ EPHEMERA, PHOTOGRAPHS, MAPS, NEW YORK CITY, AUSTRALIA:
(Norman Lindsay) "Opening of the Parliament of the Commonwealth by his Royal Highness The Duke of Cornwall and York". The National Gallery of Australia attributes the design to Norman Lindsay. Melbourne: Sands & McDougall Limited, 1901. Elegant color lithographed invitation highlighted in gilt, inscribed in ink to "Mr. T. Dewez & Lady", for the opening and celebrations in Melbourne in connection with the opening of the Parliament of Australia. The National Gallery of Australia attributes the design to Norman Lindsay. Large format cream colored card, with allegorical female figures and coats of arms. The images feature three female figures, at the left, Brittania, beneath an oak tree with white cliffs in the distance; the central figure representing justice, with crown and scepter at her feet, and against a gilt background; and the figure at the right representing Australia, with the Australian coat of arms, below. The 6 state emblems below the three figures, in gold, red and blue. Small scratched area affecting only the last three letters of the word "Victoria" in the first line of the invitation; little spot at the English crest not affecting image. Lower corners slightly bumped. 14 1/4 x 11 1/2". Trove 21649481. Very good condition.

C T (work signed T C)view full entry
Reference: see Antipodean Books, Maps & Prints ~ David & Cathy Lilburne, ELIST 42 (2020) ~ EPHEMERA, PHOTOGRAPHS, MAPS, NEW YORK CITY, AUSTRALIA:
"His Majesty's Ministers of State for the Commonwealth of Australia, request the honor of the presence of 'Mr. T. Dewez and Lady' in the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister'. Melbourne: Sands & McDougall, 1901. Chromolithographic invitation to the opening of Australian Parliament, with the name of the guest handwritten. With an image of the young queen arriving at her coronation, with a short verse from Kipling's 'Commonwealth Ode' at the lower right. The artist's initials appear to be TC at the lower right. Printed on thick stock. Large 4to, 14 1/2 x 12 1/4". Trove 8334408.
Diggles Sylvesterview full entry
Reference: see Antipodean Books, Maps & Prints ~ David & Cathy Lilburne, ELIST 42 (2020) ~ EPHEMERA, PHOTOGRAPHS, MAPS, NEW YORK CITY, AUSTRALIA:
Diggles, Silvester.
NYMPHICUS NOVAE HOLLANDIAE, COCKATOO PARRAKEET. HAND COLORED LITHOGRAPH.
Brisbane: Thorne & Greenwell, Ca. 1870. A very scarce hand colored print depicting the two cockatoo on a branch, the male in the foreground, the female with just her head visible on the right.

Silvester Diggles (1817-1880) was a naturalist, artist and musician, born in Liverpool, who emigrated to Sydney in 1853, where he settled in Sydney and taught music and drawing, as well as repairing musical instruments. He helped to establish the Queensland Philosophical Society, the colony's first scientific institution, in 1859, and published papers in its Transactions. He also served as honorary curator of the Philosophical Society’s museum, with a focus on ornithology and entomology.

His major achievement was the publication of 'The Ornithology of Australia'. From The Ornithology of Australia. 11 x 15", slightly toned at margins. Trove 6824263. Ferguson 9146. Very good condition. Item #25975
T C (work signed T C)view full entry
Reference: see Antipodean Books, Maps & Prints ~ David & Cathy Lilburne, ELIST 42 (2020) ~ EPHEMERA, PHOTOGRAPHS, MAPS, NEW YORK CITY, AUSTRALIA:
"His Majesty's Ministers of State for the Commonwealth of Australia, request the honor of the presence of 'Mr. T. Dewez and Lady' in the Exhibition Building, Melbourne, on Thursday, 9th May, 1901, to witness the Opening of the Parliament of the Commonwealth. Edmund Barton, Prime Minister'. Melbourne: Sands & McDougall, 1901. Chromolithographic invitation to the opening of Australian Parliament, with the name of the guest handwritten. With an image of the young queen arriving at her coronation, with a short verse from Kipling's 'Commonwealth Ode' at the lower right. The artist's initials appear to be TC at the lower right. Printed on thick stock. Large 4to, 14 1/2 x 12 1/4". Trove 8334408.
Kovacs Ildakoview full entry
Reference: ‘Two Grounds’, Martin Browne Contemporary exhibition catalogue, fully illustrated, 25 works
Publishing details: Martin Browne, 2020, with price list, and invite, 40pp
Ref: 222
Bezor Annetteview full entry
Reference: obituary in Sydney Morning Herald, 12 February, 2020
Gleeson Jamesview full entry
Reference: see Menzies Art Brands auction 27 February, 2020, lot 26:
26. JAMES GLEESON
By Ken Wach
Lot: 
Odysseus
The Sydney artist James Gleeson is justifiably regarded as Australia’s foremost and most consistent exponent of Surrealist art.
 Surrealism is an intriguingly complex artistic school of thought that began in Paris in the mid-Twenties and spread throughout the world, even as far afield as Australia. It is now correctly considered not as a “weird” offshoot of Modernism, but as a late-Romanticist urge to recuperate the role of the imagination and restate the importance of the creative primacy of human subjectivity. Deep down, hidden away in its mental recesses, Surrealism always rested upon a poetico-literary basis. So it was with Gleeson.
Gleeson got it right very early on and his imagination was always spurred by the heady sweep of fine literature. He read poetry every morning and his music-filled rooms were dotted with open books; his downstairs library would shame any bibliophile and his cultural knowledge and good-natured subtlety of thought were remarkable. Consequently, in the best sense, he possessed a bookmarked imaginative intelligence.
One of Gleeson’s favourite books is the Ancient Greek epic The Odyssey, attributed to the blind Homer, the second oldest book in Western literature (its earlier companion book The Iliad, also by Homer, is the oldest – 1188BC).
The word “odyssey” means “trouble” in Greek. Its figurative meaning since 1889 refers to a long and adventurous journey. Gleeson had a contemplative temperament and it was entirely appropriate for him to plunge, like James Joyce (1882-1941) before him, into the adventures of Ulysses to search out imaginative images and scenarios. His suite of eight paintings Odysseus of 1964 arises from a meditational focus upon eight of the tribulations of the legendary Ulysses (also know as Odysseus), as described in Homer’s epic of the same name.
In his Odysseus, what Gleeson has done is use a technique known as “decalcomania” to form a type of optical background upon which to place naked male figures as compositional stand-ins for eight selected adventures of Ulysses.
Decalcomania was developed by the Spaniard Oscar Domínguez (1906-1957) and the German Max Ernst (1891-1976) in 1930 and stressed the imaginative use of associations of forms suggested by the technique, essentially an ink-blot test, which was most probably culled from the earlier experimental work of the Swiss psychiatrist Herman Rorschach (1884-1922).1 The automatist technique of decalcomania invited the unpremeditated choice of mentally projective images without the need for drawing skill, technique and logical formulation – it was used to “jump-start” the flat battery of the imagination. The decalcomania technique, bolstered by the oft-cited appeals to the historical authority of the famous Italian Renaissance artist Leonardo da Vinci (1452-1519), who recommended very similar approaches, gave the Surrealists and Gleeson a firm grasp of the graphic and visual potential of a type of visual automatism.2 Of course, Leonardo was not a Surrealist but the historical link strengthened the Surrealists’ constant claims that this sort of visual automatism was a fundamental principle of true creativity – one “born” of the imaginative mind.
In Gleeson’s Odysseus of 1964 the artist has used a decalcomania “bed” of swirling forms to suggest the “cosmic” and “universal” tone of Homer’s majestic epic. The meticulously painted naked male figures give the eight paintings a curiously ancient yet futuristic ambience. Gleeson would have enjoyed this odd juxtaposition – similar ones flow through many of his other paintings – and its swirling “glassy” otherworldliness. The paintings arise from a meditational focus upon its forms, somewhat like peering at Rorschach blots or the veins of Chinese polished jade discs, both of which suggest realms beyond any that could rationally exist in external reality.
Considered in these ways, Gleeson’s Odysseus of 1964 suggests and conveys more than it depicts. As such, the suite of eight paintings is perfectly in harmony with the Surrealist concept of “pure psychic automatism” and is an accomplished example of Australia’s most highly regarded Surrealist artist.
Footnotes
1. Rorschach, Hermann (1884-1922). In 1918 Rorschach was the inventor of the so-called “inkblot test”, which he used for diagnosing psychopathological disorders. Rorschach was educated at the University of Zürich in 1912 and worked for a time in Russia before returning to Switzerland where he was elected Vice President of the Swiss Psychoanalytic Society in 1919. His theories were first published in 1921 in his text Psychodiagnostik (Psychodiagnostics)
2. Da Vinci, Leonardo. “A Way of Developing and Arousing the Mind to Various Inventions”, in Holt, Elizabeth, G., (Ed.), A Documentary History of Art, Vol.1, The Middle Ages and the Renaissance, New York, Doubleday Anchor Book, 1957, p.283
 
Literature
Chapman, C.; Gleeson, James, “Inhabiting the Littoral”, in Lloyd, M.; Gott, T.; Chapman, C., Surrealism: Revolution by Night, National Gallery of Australia, Canberra, 1993
Free, R., Gleeson, J., “Interview: James Gleeson with Renee Free, The Rose and the Virus”, in Free, R., James Gleeson Images from the Shadows, Craftsman House, East Rowville, 1993
Gleeson, J., “What is Surrealism?”, Art in Australia, no. 8 , November 1940
Gleeson, J., “The Necessity for Surrealism”, A Comment, no. 5, May 1941
Kolenberg, H.; Ryan, A., James Gleeson Drawings for Paintings, Art Gallery of New South Wales, Sydney, 2003
Lloyd, M.; Gott, T.; Chapman, C., Surrealism: Revolution by Night, National Gallery of Australia, Canberra, 1993
Wach, K., “Surrealism in Australia: The Transposed Response”, Art Monthly Australia, Canberra, March, no. 57, 1993
Wach, K., “The Pearl Divers of the Unconscious: Freud, Surrealism and Psychology” in Chapman, C.; Gott, T.; Lloyd, M., Surrealism: Revolution by Night, National Gallery of Australia, Canberra, 1993
Wach, K., “Australian Surrealism, The Agapitos/Wilson Collection”, The Australian Art Review, no. 3, Text Media, Sydney, 2003, p.81-82
Wach, K., “James Gleeson and Surrealism: The Inexhaustible Murmur”, James Gleeson: Beyond the Screen of Sight, The Beagle Press and the National Gallery of Victoria, Sydney, 2004
 
 
Associate Professor Ken Wach Dip. Art; T.T.T.C.;
Fellowship RMIT; MA; PhD. Former Principal Research Fellow
and Head of the School of Creative Arts
The University of Melbourne
 
von Guerard Eugene European sceneview full entry
Reference: see Menzies Art Brands auction 27 February, 2020, lot 56
56. EUGENE VON GUÉRARD
Italienische Landschaft (Italian Landscape)
The present work may be the work exhibited by Eugene von Guérard at the 1849 Annual Exhibition of the Art Association of Rhineland-Westphalen, Düsseldorf, as No. 22, Italienische Landschaft, Composition [1849]. The painting, as noted in the art news of the Düsseldorfer Journal und Kreisblatt 198, 19 August 1849, was purchased by lottery by shipyard owner and prominent businessman Franz Haniel of Ruhrort. It is likely, but not conclusively verifiable, that the present work is the Italienische Landschaft, Composition, exhibited in Düsseldorf in 1849.
Eugene von Guérard spent almost thirteen years, from late 1838 until mid-1852, in the dynamic art city of Düsseldorf. Between 1840 and 1843 he studied landscape painting under Johann Wilhelm Schirmer (1807-1863) at the internationally renowned Düsseldorf Academy. At this time, a trip to Italy was regarded as virtually mandatory for any serious landscape painter. Von Guérard, who had spent the previous twelve years travelling and sketching in Italy, was in an enviable position on his arrival in Düsseldorf. His eleven sketchbooks, full of drawings made in the Roman campagna, Naples, Capri, Sicily and more, provided the artist with invaluable content for the many Italian subjects he painted in his Düsseldorf studio.
The site portrayed in Italian Landscape cannot be identified in any of the five extant sketchbooks, and while it is possible that it might appear in one of the six, now missing, books, it is more likely that this work does not depict a specific location; it is almost certainly a ‘landscape composition’, an invented or ideal composition.
Von Guérard was actively involved in experimenting with such ‘compositions’ in the 1840s. A sketchbook from his Düsseldorf years reveals that in the late 1840s he participated in one of the composition societies which formed following the model established by Schirmer and fellow landscape painter Karl Friedrich Lessing (1808-1880). Von Guérard’s sketchbook XVIII, which he used between 1847 and 1851, was dedicated to ‘compositions’ drawn on ‘winter evenings’ in Düsseldorf. Most date from 1848-49 and are drawn from the artist’s memories of Italy: some are even inscribed ‘Erinnerungen’ [Memories]. Rather than accurately record a specific location, the aim of these drawings was to capture the essential character of a place, such as the Roman campagna or the Neapolitan coast, in the form of a resolved and poetically inspiring composition. Elements and landscape motifs that relate to his Italian Landscape can be found in a number of the drawings in von Guérard’s book of compositions.1
The composition of von Guérard’s Italian Landscape, like many in his book of compositions, reflects the influence of seventeenth-century classical landscape models. From the foreground, with its stand of trees on the left and the pile of massive stone blocks – perhaps the remains of an ancient bridge – on the right, the eye is directed along a winding path into the middle distance and towards the lake, centered in the composition and framed by mountains. Von Guérard’s understanding of Italian light and atmosphere, absorbed during his formative years in Italy, informs this work, notably in the warmth of the late afternoon sun – a time of day favoured by von Guérard – and the blue haze over the distant mountains. Birds wheeling in the airy sky. The palette, of soft airy blues tinged with pink, olive greens and ochres, is enlivened by the touch of red of the seated figure’s jacket and the terracotta tones of the tiles on the hilltop villa. The prevailing mood established by the composition, light and palette, continues with the narrative of peasants gathering at the end of the day’s work, in perfect harmony with their idyllic setting.
Typically von Guérard has incorporated his signature, here a monogram inscribed on the face of the rock in the lower right, into the landscape itself.
Footnote
1. Eugene von Guérard, Volume 07: Sketchbook XVIII, Düsseldorf, 1847-1852, 1855, Dixson Galleries, State Library of New South Wales, Sydney, DGB14, vol. 7
Dr Ruth Pullin
Baxter George attribview full entry
Reference: see Menzies Art Brands auction 27 February, 2020, lot 57
LOT 57
ATTRIBUTED TO GEORGE BAXTER
Australia. News From Home 1852

oil on canvas
62.5 x 80.0 cm

bears date and inscription on stretcher verso: G. Baxter 1852
inscribed to plaque on frame: AUSTRALIA./ NEWS FROM HOME./ H. S. Melville./ THE ORIGINAL OF THE BAXTER PRINT.
Labels:
accompanied by a statement of authenticity from a descendant of the Baxter family and two original prints by George Baxter, Australia. News from Home 1853 and News from England 1853
Provenance:
Mr George Baxter, London
Thence by descent, private collection, United Kingdom
Private collection, United Kingdom
Acquired from the above, private collection, Melbourne
Related work:
Harden Sidney Melville (1824-1894), The Squatter's Hut: News from Home 1850-51, oil on canvas, 88.0 x 102.5 cm, National Gallery of Australia collection, Canberra, purchased 1964
George Baxter, Australia. News from Home 1853, Baxter print, 12.5 x 16.5 cm, Victoria & Albert Museum collection, London, bequeathed by Francis William Baxter
Reference:
This work is believed to have formed the basis for the famous print by George Baxter of the same name.
Estimate A$20,000 - A$26,000

57. Attributed to GEORGE BAXTER
Australia. News from Home
The experience of the emigrant in Australia’s colonial history has been the subject of surprisingly few painterly images. The most famous, arguably, is Ford Madox Brown’s (1821-1893) The Last of England 1825 (Birmingham Museum and Art Gallery collection). Closer to home, Tom Roberts’ Coming South 1886 (National Gallery of Victoria collection), recalls the post-gold rush era with his painting of migrants, based on sketches made during the artist’s return to Australia from London aboard the SS Lusitania the previous year.
Sitting directly between these two views of actual emigration is Harden Sidney Melville’s (1824-1894) The Squatter’s Hut: News From Home 1850-51 (National Gallery of Australia collection), an expression of the flipside, that of the pioneer’s lived experience in a new land. Shortly after its exhibition in London in 1851,1 the famed printmaker George Baxter entered into an agreement with Melville to reproduce the painting using his patented ‘Baxter Print’ technique. Released in early 1853 under the revised title of Australia. News From Home, this proved to be a commercially successful decision, for many thousands of the relatively inexpensive prints were subsequently purchased to hang in family homes as a tangible reminder of close relatives now domiciled at the other end of the world. In preparation for the transfer of the design, Baxter painted this version in oil, which stayed in the possession of his descendants for more than one hundred and fifty years.
By the age of twenty, Baxter was already illustrating books produced by his father, who was also  a printer. He then studied wood engraving in London before setting up his own business in 1827, and being granted Patent No. 6916 - Improvements in Producing Coloured Steel Plate, Copper Plate and other Impressions in 1835.2 Baxter’s prints demonstrated an incredible fidelity to the original and utilised mezzotint plates, single colour wood blocks (up to twenty per print, though twelve were utilised for the copy of Melville’s painting) and a hot-roller finish.3 By 1853, when Baxter’s version appeared, gold had been discovered in both Victoria and New South Wales leading to the retitling as Australia. News From Home. Its popularity saw the image used in other publishing ventures, such as an illustration for sheet music.4 Following his bankruptcy in 1865, the company Vincent Brooks and Co. bought many of the original plates, and continuedproducing selected prints including Australia. News From Home. Sadly, Baxter died two years later following an accident whilst mounting an omnibus, an ignominious end for a man who ‘had known fame and glory, had been received by kings and princes, and his work had been admired by the highest in the land, but ... he died a lonely, embittered and disappointed man.’5
In the execution of his prints, George Baxter was a fine copyist and would often embellish his version after the original. In this regard, there are noticeable stylistic differences between Melville’s painting and Baxter’s. Key alterations include the colour of the squatter’s coat (from Melville’s green to Baxter’s red-brown), the removal of blood from the kangaroo carcasses in the foreground, the changed colours of the deer hounds, and the absence of the scene beyond the hut’s opening, which originally featured three dead tree trunks, a squall of cockatoos, and a redshirted horseman rounding up a mob of sheep. That said, it remains a fascinating image, a direct link to the potency of Baxter’s prints amongst the general British public. It is also a rare, capably painted example of the emigrant experience in Australia, one of the defining aspects of this nation’s character.
Footnotes
1. Twenty-Eighth Annual Exhibition of the Royal Society of British Artists, London, opened 22 March 1851, cat.336
2. Biographical details from: ‘George Baxter (printer)’, https://en.wikipedia.org/wiki/George Baxter (printer), accessed 10 May 2019
3. It has been estimated that Baxter printed over twenty million prints during his career. See: Mitzman, Max E., George Baxter and the Baxter Prints, Newton Abbot, London, 1978, p.50
4. H. S. Melville, ibid., p.225
5. Mitzman, Max E., ibid., p.62
News from Home by George Baxterview full entry
Reference: see Menzies Art Brands auction 27 February, 2020, lot 57
LOT 57
ATTRIBUTED TO GEORGE BAXTER
Australia. News From Home 1852

oil on canvas
62.5 x 80.0 cm

bears date and inscription on stretcher verso: G. Baxter 1852
inscribed to plaque on frame: AUSTRALIA./ NEWS FROM HOME./ H. S. Melville./ THE ORIGINAL OF THE BAXTER PRINT.
Labels:
accompanied by a statement of authenticity from a descendant of the Baxter family and two original prints by George Baxter, Australia. News from Home 1853 and News from England 1853
Provenance:
Mr George Baxter, London
Thence by descent, private collection, United Kingdom
Private collection, United Kingdom
Acquired from the above, private collection, Melbourne
Related work:
Harden Sidney Melville (1824-1894), The Squatter's Hut: News from Home 1850-51, oil on canvas, 88.0 x 102.5 cm, National Gallery of Australia collection, Canberra, purchased 1964
George Baxter, Australia. News from Home 1853, Baxter print, 12.5 x 16.5 cm, Victoria & Albert Museum collection, London, bequeathed by Francis William Baxter
Reference:
This work is believed to have formed the basis for the famous print by George Baxter of the same name.
Estimate A$20,000 - A$26,000

57. Attributed to GEORGE BAXTER
Australia. News from Home
The experience of the emigrant in Australia’s colonial history has been the subject of surprisingly few painterly images. The most famous, arguably, is Ford Madox Brown’s (1821-1893) The Last of England 1825 (Birmingham Museum and Art Gallery collection). Closer to home, Tom Roberts’ Coming South 1886 (National Gallery of Victoria collection), recalls the post-gold rush era with his painting of migrants, based on sketches made during the artist’s return to Australia from London aboard the SS Lusitania the previous year.
Sitting directly between these two views of actual emigration is Harden Sidney Melville’s (1824-1894) The Squatter’s Hut: News From Home 1850-51 (National Gallery of Australia collection), an expression of the flipside, that of the pioneer’s lived experience in a new land. Shortly after its exhibition in London in 1851,1 the famed printmaker George Baxter entered into an agreement with Melville to reproduce the painting using his patented ‘Baxter Print’ technique. Released in early 1853 under the revised title of Australia. News From Home, this proved to be a commercially successful decision, for many thousands of the relatively inexpensive prints were subsequently purchased to hang in family homes as a tangible reminder of close relatives now domiciled at the other end of the world. In preparation for the transfer of the design, Baxter painted this version in oil, which stayed in the possession of his descendants for more than one hundred and fifty years.
By the age of twenty, Baxter was already illustrating books produced by his father, who was also  a printer. He then studied wood engraving in London before setting up his own business in 1827, and being granted Patent No. 6916 - Improvements in Producing Coloured Steel Plate, Copper Plate and other Impressions in 1835.2 Baxter’s prints demonstrated an incredible fidelity to the original and utilised mezzotint plates, single colour wood blocks (up to twenty per print, though twelve were utilised for the copy of Melville’s painting) and a hot-roller finish.3 By 1853, when Baxter’s version appeared, gold had been discovered in both Victoria and New South Wales leading to the retitling as Australia. News From Home. Its popularity saw the image used in other publishing ventures, such as an illustration for sheet music.4 Following his bankruptcy in 1865, the company Vincent Brooks and Co. bought many of the original plates, and continuedproducing selected prints including Australia. News From Home. Sadly, Baxter died two years later following an accident whilst mounting an omnibus, an ignominious end for a man who ‘had known fame and glory, had been received by kings and princes, and his work had been admired by the highest in the land, but ... he died a lonely, embittered and disappointed man.’5
In the execution of his prints, George Baxter was a fine copyist and would often embellish his version after the original. In this regard, there are noticeable stylistic differences between Melville’s painting and Baxter’s. Key alterations include the colour of the squatter’s coat (from Melville’s green to Baxter’s red-brown), the removal of blood from the kangaroo carcasses in the foreground, the changed colours of the deer hounds, and the absence of the scene beyond the hut’s opening, which originally featured three dead tree trunks, a squall of cockatoos, and a redshirted horseman rounding up a mob of sheep. That said, it remains a fascinating image, a direct link to the potency of Baxter’s prints amongst the general British public. It is also a rare, capably painted example of the emigrant experience in Australia, one of the defining aspects of this nation’s character.
Footnotes
1. Twenty-Eighth Annual Exhibition of the Royal Society of British Artists, London, opened 22 March 1851, cat.336
2. Biographical details from: ‘George Baxter (printer)’, https://en.wikipedia.org/wiki/George Baxter (printer), accessed 10 May 2019
3. It has been estimated that Baxter printed over twenty million prints during his career. See: Mitzman, Max E., George Baxter and the Baxter Prints, Newton Abbot, London, 1978, p.50
4. H. S. Melville, ibid., p.225
5. Mitzman, Max E., ibid., p.62
Melville Harden Sidney afterview full entry
Reference: see Menzies Art Brands auction 27 February, 2020, lot 57
LOT 57
ATTRIBUTED TO GEORGE BAXTER
Australia. News From Home 1852

oil on canvas
62.5 x 80.0 cm

bears date and inscription on stretcher verso: G. Baxter 1852
inscribed to plaque on frame: AUSTRALIA./ NEWS FROM HOME./ H. S. Melville./ THE ORIGINAL OF THE BAXTER PRINT.
Labels:
accompanied by a statement of authenticity from a descendant of the Baxter family and two original prints by George Baxter, Australia. News from Home 1853 and News from England 1853
Provenance:
Mr George Baxter, London
Thence by descent, private collection, United Kingdom
Private collection, United Kingdom
Acquired from the above, private collection, Melbourne
Related work:
Harden Sidney Melville (1824-1894), The Squatter's Hut: News from Home 1850-51, oil on canvas, 88.0 x 102.5 cm, National Gallery of Australia collection, Canberra, purchased 1964
George Baxter, Australia. News from Home 1853, Baxter print, 12.5 x 16.5 cm, Victoria & Albert Museum collection, London, bequeathed by Francis William Baxter
Reference:
This work is believed to have formed the basis for the famous print by George Baxter of the same name.
Estimate A$20,000 - A$26,000

57. Attributed to GEORGE BAXTER
Australia. News from Home
The experience of the emigrant in Australia’s colonial history has been the subject of surprisingly few painterly images. The most famous, arguably, is Ford Madox Brown’s (1821-1893) The Last of England 1825 (Birmingham Museum and Art Gallery collection). Closer to home, Tom Roberts’ Coming South 1886 (National Gallery of Victoria collection), recalls the post-gold rush era with his painting of migrants, based on sketches made during the artist’s return to Australia from London aboard the SS Lusitania the previous year.
Sitting directly between these two views of actual emigration is Harden Sidney Melville’s (1824-1894) The Squatter’s Hut: News From Home 1850-51 (National Gallery of Australia collection), an expression of the flipside, that of the pioneer’s lived experience in a new land. Shortly after its exhibition in London in 1851,1 the famed printmaker George Baxter entered into an agreement with Melville to reproduce the painting using his patented ‘Baxter Print’ technique. Released in early 1853 under the revised title of Australia. News From Home, this proved to be a commercially successful decision, for many thousands of the relatively inexpensive prints were subsequently purchased to hang in family homes as a tangible reminder of close relatives now domiciled at the other end of the world. In preparation for the transfer of the design, Baxter painted this version in oil, which stayed in the possession of his descendants for more than one hundred and fifty years.
By the age of twenty, Baxter was already illustrating books produced by his father, who was also  a printer. He then studied wood engraving in London before setting up his own business in 1827, and being granted Patent No. 6916 - Improvements in Producing Coloured Steel Plate, Copper Plate and other Impressions in 1835.2 Baxter’s prints demonstrated an incredible fidelity to the original and utilised mezzotint plates, single colour wood blocks (up to twenty per print, though twelve were utilised for the copy of Melville’s painting) and a hot-roller finish.3 By 1853, when Baxter’s version appeared, gold had been discovered in both Victoria and New South Wales leading to the retitling as Australia. News From Home. Its popularity saw the image used in other publishing ventures, such as an illustration for sheet music.4 Following his bankruptcy in 1865, the company Vincent Brooks and Co. bought many of the original plates, and continuedproducing selected prints including Australia. News From Home. Sadly, Baxter died two years later following an accident whilst mounting an omnibus, an ignominious end for a man who ‘had known fame and glory, had been received by kings and princes, and his work had been admired by the highest in the land, but ... he died a lonely, embittered and disappointed man.’5
In the execution of his prints, George Baxter was a fine copyist and would often embellish his version after the original. In this regard, there are noticeable stylistic differences between Melville’s painting and Baxter’s. Key alterations include the colour of the squatter’s coat (from Melville’s green to Baxter’s red-brown), the removal of blood from the kangaroo carcasses in the foreground, the changed colours of the deer hounds, and the absence of the scene beyond the hut’s opening, which originally featured three dead tree trunks, a squall of cockatoos, and a redshirted horseman rounding up a mob of sheep. That said, it remains a fascinating image, a direct link to the potency of Baxter’s prints amongst the general British public. It is also a rare, capably painted example of the emigrant experience in Australia, one of the defining aspects of this nation’s character.
Footnotes
1. Twenty-Eighth Annual Exhibition of the Royal Society of British Artists, London, opened 22 March 1851, cat.336
2. Biographical details from: ‘George Baxter (printer)’, https://en.wikipedia.org/wiki/George Baxter (printer), accessed 10 May 2019
3. It has been estimated that Baxter printed over twenty million prints during his career. See: Mitzman, Max E., George Baxter and the Baxter Prints, Newton Abbot, London, 1978, p.50
4. H. S. Melville, ibid., p.225
5. Mitzman, Max E., ibid., p.62
Mama Here Mama Nowview full entry
Reference: Collection Highlights - Murray Art Museum Albury: Mama Here Mama Now. Highlights are illustrated with notes on many of the artists. ‘[MAMA started its visual art collection in 1974 when it took over as custodian and manager of the Albury Art Prize Collection. Today, our collection contains over 2400 items. Photographs and works on paper are strongly represented, along with smaller collections of paintings, ceramics, bronzes, woodcarvings, sculptural pieces and Indigenous artefacts].
Publishing details: Murray Art Museum Albury, Australia, 2015, 152 pages - - with colour plates
Murray Art Museum view full entry
Reference: see Collection Highlights - Murray Art Museum Albury: Mama Here Mama Now. MAMA started its visual art collection in 1974 when it took over as custodian and manager of the Albury Art Prize Collection. Today, our collection contains over 2400 items. Photographs and works on paper are strongly represented, along with smaller collections of paintings, ceramics, bronzes, woodcarvings, sculptural pieces and Indigenous artefacts. [to be indexed]
Publishing details: Murray Art Museum Albury, Australia, 2015, 152 pages - - with color plate
Textiles view full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’

see also:
see Barsby Auctions, Monthly Auction (Art lots only), Sydney, 18/02/2017, Lot No. 524
'Pearl Divers'
Fabric, 79 x 87 cm, Est: $240-480,
Manufactured for an exhibition in 1947 of Modernage fabrics. Desgned by Donald Friend. In 1947 Claudio Alcorso of Silk & Textiles Printers Pty Ltd (STP) organised the exhibition. Modernage Fabrics, which consisted of 46 fabric designs by 33 Australian artists. The fabrics printed by his company in the colours and materials selected by the artists were exhibited in Sydney and Melbourne. Alcorso hoped this textile exhibition would inspire Australian industries to commission Australian artists to design their products instead of copying overseas designs.
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
see also:
see Barsby Auctions, Monthly Auction (Art lots only), Sydney, 18/02/2017, Lot No. 524
'Pearl Divers'
Fabric, 79 x 87 cm, Est: $240-480,
Manufactured for an exhibition in 1947 of Modernage fabrics. Desgned by Donald Friend. In 1947 Claudio Alcorso of Silk & Textiles Printers Pty Ltd (STP) organised the exhibition. Modernage Fabrics, which consisted of 46 fabric designs by 33 Australian artists. The fabrics printed by his company in the colours and materials selected by the artists were exhibited in Sydney and Melbourne. Alcorso hoped this textile exhibition would inspire Australian industries to commission Australian artists to design their products instead of copying overseas designs.
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Annand Douglas fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Bellette Jean fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Cant James fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Constable William fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Curtis Mary fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Dalgarno Roy fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Danciger Alice fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Dobell William fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Drsdale Russell fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Feint Adrienf abricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Friend Donald fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Gleeson James fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Grey Sheila fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Graham Geoffrey fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Haefliger Paul fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Hinder Frank fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Kaiser Peter fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Lewis Mary fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Lymburner Francis fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Medworth Muriel fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Medworth Frank fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Missingham Hal fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Morrison Alistair fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Niny fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
O’Brien Justin fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Orban Desiderius fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Plate Carl fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Preston Margaret fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Sainthill Loudon fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Rogers Suzanne fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Shaw Roderick fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Skowronski Betty fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Smith Jack Carrington fabricview full entry
Reference: see A New approach to textile designing / by a group of Aust From AGNSW website:ralian artists, with a foreword by Claudio Alcorso. [J T Burke writes on '100 Years of Industrial Design'; Sydney Ure Smith writes on 'Vision & Confidence In Art For Textiles'; C M Foley writes on 'Art In A Textile Printing Factory' and Desiderius Orban writes on 'How It Happened' (that he taught the workers at the Silk & Textile Printers). This booklet reproduces the designs of 33 artists with with the artists' statements for each pattern.] From AGNSW website, referring to the Drysdale example in their collection:
‘This fabric design resulted from a unique collaboration between Australian artists and the commercial textile industry during 1946-47. The enterprise was remarkable because it was then common practice to buy fabric designs from overseas for printing in Australia.
Claudio Alcorso director of Silk and Textile Printers, invited a large group of Australian artists to make designs for furnishings and fashion. After a trial run in 1946, the 'Modernage' range of fabrics was launched the following year and exhibited at Sydney's Hotel Australia, where girls dressed in some of the fabrics sold copies of the specially produced book 'A new approach to textile designing by a group of Australian artists', published by Sydney Ure Smith. The latter illustrated 46 designs by 33 artists with notes by each artist and essays by key figures in the enterprise, including Art Gallery of New South Wales director Hal Missingham. While some artists worked as though creating paintings, others like those shown here, gave greater consideration to the need for repetition of the design whilst preserving an overall unity of effect.
There was widespread publicity, with newspaper and magazine stories and displays in the windows of David Jones department store. The fabric range was displayed to similar acclaim in Melbourne, with subsequent tours to the USA and Canada. Despite both critical and popular acclaim however, it met with only limited commercial success, which Alcorso later attributed to a post-war climate of conservatism in Australia.’
Publishing details: Ure Smith, 1947 
40 p. : ill. (some col.)
Martin Shirley designerview full entry
Reference: from Museum of Applied Arts and Sciences website:
Shirley Martin: Australian industrial designer
July 29, 2015
By Anne-Marie Van de Ven
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Olympic Games towel designed by Shirley de Vocht for Dri-Glo Towels, Sydney, 1956, MAAS collection, 2002/88/8
Shirley Martin was a female industrial designer based in Sydney who had a long and illustrious career as a post-WWII Australian textile and ceramic designer. She is best known for designing the 1956 Melbourne Olympic Games towel, but there is much more to her remarkable design industry success story.

We acquired the Shirley Martin collection as a result of a simple donation offer during the Sydney 2000 Olympic Games of a 1956 Olympic Games towel. When following up this offer, I met Shirley and her family and it became clear that her story was much bigger than that of the Olympic towel design. The Museum now holds a small but growing Shirley Martin design archive.
Russell Drysdale’s drawings
From 1944 to 1946, Shirley was a young art student attending classes on Fridays and evenings at East Sydney Technical College. During this same period, Shirley embarked on one of her very first jobs. She took on the technically challenging role of translating Australian artist Russell Drysdale’s paintings and drawings into multi-coloured designs for screenprinted furnishing fabrics. At the time, she was just 17 and working in the Design Department of Silk and Textile Printers (STP) in Darlinghurst.
Shirley helped realize Russell Drysdale’s artwork under the direction of Mary Curtis, head designer at STP. The project provided her with a challenging formative experience which no doubt stood her in good stead for the remainder of her career as a female industrial designer.

Art in Industry exhibition and Modernage fabrics produced by Shirley de Vocht (nee Martin) for Silk and Textile Printers, Sydney, 1946, MAAS collection, 2002/88/1-3/2
Drysdale’s ‘Tree Forms’ was created from drawings taken from a sketchbook and arranged informally to complete a full screen. On completion, ‘Tree Forms’ was considered suitable for furnishing fabrics and was produced as a 12-colour print on heavy wool for furnishing with tan as a dominating colour, and also a monotone print.
‘Stone and Wood’ used a Drysdale motif to create a repeat on a large scale. The design employed a central motif enclosed by a ‘rock-like form’ as a large pattern covering a full screen for curtains using 10 colours on heavy cotton and light wool fabrics. The process was neither simple nor straightforward:
‘Several screens are used in the printing of a multi-colour design; one colour imposed upon another gives a third, so that in the finished product there may be more colours than the number of screens used. Seven or more screens may be bought to the printing room.’ (CM Foley, 1947, p 3).
Surprisingly for the time, women artists represented approximately one third of the artists featured in STP’s ‘Modernage Range’. Just before leaving STP, Shirley also helped prepare and install the ‘Art in Industry’ Modernage Fabrics display in the ballroom of the Australia Hotel in Sydney. This exhibition later travelled to the Windsor Hotel in Melbourne.

Art in Industry exhibition and Modernage fabrics produced by Shirley de Vocht (nee Martin) for Silk and Textile Printers, Sydney, 1946, MAAS collection, 2002/88/1-3
Career following STP
From 1947 to 1949, Shirley worked as a ceramic designer with Modern Ceramic Products in Redfern, and as a textile designer at Tennyson Textile Mills in Gladesville. From 1950 to 1951, she worked at Coverings & Co in Mascot, where she produced complex multi-layered designs for jacquard weave furnishing fabrics, including the ‘Roses’ and ‘Poppies’ designs.

‘Roses’ furnishing fabric designed by Shirley de Vocht (nee Martin) for Coverings & Co, Sydney, 1950, MAAS collection, 2002/88/6

‘Poppies’ furnishing fabric designed by Shirley de Vocht (nee Martin) for Coverings & Co, Sydney, 1950, MAAS collection, 2002/88/6
After each employ, Shirley received a letter of commendation, each stating that she was ‘leaving on her own choice’. She was highly regarded by all her employers, with Coverings stating that it was ‘with sincere regret that we lose her services’ (letter, 23 November 1951). It was during this time that she married John de Vocht, a photographer with the Dutch Air Force.
1956 Olympic Games Dri-Glo towel design
From 1951 to 1959, Shirley’s last major industrial employment was with Dri-Glo Towels in Five Dock. While there, Shirley was invited to create a towel design for the 1956 Melbourne Olympic Games (the image at top of this post). The brief stated that the design was to include the Olympic Torch. Shirley added the Olympic Rings, a map of Australia, and ‘because I love Australian animals so much, I was determined that I would have them on the towel’ (newspaper article, 2000).
The towel was produced in green and yellow, colours Shirley felt she may have helped introduce to represent Australia. The red and white version of the towel (illustrated above) was produced for her own personal use. After the games, the torch on the towel was replaced by a surfer to extend the design into a marketable product.

Handcoloured photograph of Shirley Martin taken by Hector Brown, Sydney, c.1945, MAAS collection, 2002/88/1-4/1
Shirley was the daughter of an Australian Aboriginal father and grandfather. During her career, she held numerous positions, always seeking more technically challenging projects and producing many marketable product designs, some incorporating Aboriginal motifs and symbols. Her freelance textile designs feature Australian flora such as native heath, flannel flowers and wattle. Her work was selected for international exhibition and for inclusion in numerous competitions.
Shirley de Vocht continued to work as an artist after the 1960s, painting flora and fauna, including endangered species such as the native cat, the quoll and the snowy numbat, onto mass-produced ceramic plates. Shirley passed away in 2003. You can see more of Shirley’s vibrant designs in an earlier post, in which we detail how her fabulous gouache collection has been conserved at MAAS.
Post by Anne-Marie Van de Ven, Curator
I am indebted to Shirley de Vocht and her daughter Nicolle Drake, and MAAS archivists Jill Chapman and Paul Wilson, for their assistance piecing together biographical information.
References
Letter, To Whom it may concern, A. Haigh, Coverings & Co Pty Ltd, 23 November 1951
C.M. Foley, Supervisor, STP, ‘Art in the Textile Printing Factory’, in A New approach to Textile Designing by a group of Australian Artists, Ure Smith Publication, Sydney, 1947, p 3
Shirley de Vocht, ‘My mother loved to hear the bellbirds’, Australian Women’s Weekly, May 15,1974, pp 114-117
Newspaper article, ‘Ay, there’s the rub’, interview with Shirley de Vocht, c2000

Cohn Olaview full entry
Reference: see website, MANIFOLD HEIGHTS PRIMARY SCHOOL ART SHOW
Manifold Heights Primary School
Strachan Ave
Manifold Heights VIC 3218.

Ola Cohn
Ola Cohn was the artist who created the Fairy Tree .


Ola Cohn, born Carola Cohn in Bendigo (25 April 1892 – 23 December 1964) was an Australian artist, author and philanphropist best known for her work in sculpture in a modernist style and famous for her Fairies Tree in the Fiztroy Gardens,Melbourne.
Ola was educated at Girton College, Bendigo, then studied drawing and sculpture at the Bendigo School of Mines. She continued her studies in Melbourne at Swinburne Technical College and then at the Royal College of Art in London. On her return to Melbourne in 1930 she established a studio at 9 Collins Street (subsequently occupied by Georges and Mirka Mora), and later moving to Gipps Street, East Melbourne.
Her works in bronze, stone and wood are held in many state and regional galleries. Important works include:
• the Fairies’ Tree in the Fitzroy Gardens, Melbourne which she sculpted between 1931 and 1934 and donated to the children of Melbourne and
• the statue for the Pioneer Women’s Memorial Garden in Adelaide, South Australia, carved in limestone in 1940-1941.
The Fairies Tree work also inspired the writing and publication of The Fairies’ Tree (1932), More about the Fairies’ Tree (1932) and Castles in the Air (1936). Her book Mostly Cats was published in 1964.
She was President of the Melbourne Society of Women Painters and Sculptors from 1948 to 1964 a founding member of the Australian Sculptors Society and an active member of the Victorian Artists’ society, the Victorian Sculptors’ Society and Melbourne Contemporary Artists.
Miksevicius Jurgis view full entry
Reference: Jurgis Miksevicius: In the light of the sun and shadow of the moon
27 MARCH - 10 MAY 2020
Lithuanian born artist Jurgis Miksevicius (1923-2014) immigrated to Australia in 1948. The exhibition will chart Miksevicius’ displacement from war torn Europe, his time at Bathurst Migrant Camp, the development of his practice with particular focus on the region and conclude with a selection of landscapes and a series of his more introspective/philosophical moon paintings.
A BRAG exhibition. [’Lithuanian born artist Jurgis Miksevicius (1923-2014) immigrated to Australia in 1948, a displaced person from war torn Europe. While Miksevicius’ oeuvre includes diverse genres and styles, this exhibition charts the development of his practice as a painter and colourist. It progresses from his studies at art school in Germany, his early paintings and murals while employed as camp artist at the Bathurst Migrant Camp, to his ongoing artistic explorations focusing particularly on landscapes and more esoteric/philosophical ‘moon' paintings.
Bathurst was where Miksevicius began his 70-year career as an artist in Australia and he maintained a close relationship with the region throughout his life.
A short documentary video of Miksevicius in conversation with his daughter, Carolyn Leigh, about his time and work at the migrant camp, will accompany the exhibition.’]
 
Publishing details: Bathurst Regional Art Gallery, 2020
Ref: 1009
Friend Donald fabricview full entry
Reference: see Barsby Auctions, Monthly Auction (Art lots only), Sydney, 18/02/2017, Lot No. 524
'Pearl Divers'
Fabric, 79 x 87 cm, Est: $240-480,
Manufactured for an exhibition in 1947 of Modernage fabrics. Desgned by Donald Friend. In 1947 Claudio Alcorso of Silk & Textiles Printers Pty Ltd (STP) organised the exhibition. Modernage Fabrics, which consisted of 46 fabric designs by 33 Australian artists. The fabrics printed by his company in the colours and materials selected by the artists were exhibited in Sydney and Melbourne. Alcorso hoped this textile exhibition would inspire Australian industries to commission Australian artists to design their products instead of copying overseas designs. Sold $260.

Modernage Fabricsview full entry
Reference: see Barsby Auctions, Monthly Auction (Art lots only), Sydney, 18/02/2017, Lot No. 524
'Pearl Divers'
Fabric, 79 x 87 cm, Est: $240-480,
Manufactured for an exhibition in 1947 of Modernage fabrics. Desgned by Donald Friend. In 1947 Claudio Alcorso of Silk & Textiles Printers Pty Ltd (STP) organised the exhibition. Modernage Fabrics, which consisted of 46 fabric designs by 33 Australian artists. The fabrics printed by his company in the colours and materials selected by the artists were exhibited in Sydney and Melbourne. Alcorso hoped this textile exhibition would inspire Australian industries to commission Australian artists to design their products instead of copying overseas designs. Sold $260.

Alcorso Claudio of Silk & Textiles Printers Pty Ltd view full entry
Reference: see Barsby Auctions, Monthly Auction (Art lots only), Sydney, 18/02/2017, Lot No. 524
'Pearl Divers'
Fabric, 79 x 87 cm, Est: $240-480,
Manufactured for an exhibition in 1947 of Modernage fabrics. Desgned by Donald Friend. In 1947 Claudio Alcorso of Silk & Textiles Printers Pty Ltd (STP) organised the exhibition. Modernage Fabrics, which consisted of 46 fabric designs by 33 Australian artists. The fabrics printed by his company in the colours and materials selected by the artists were exhibited in Sydney and Melbourne. Alcorso hoped this textile exhibition would inspire Australian industries to commission Australian artists to design their products instead of copying overseas designs. Sold $260.

Silk & Textiles Printers Pty Ltd - Claudio Alcorso view full entry
Reference: see Barsby Auctions, Monthly Auction (Art lots only), Sydney, 18/02/2017, Lot No. 524
'Pearl Divers'
Fabric, 79 x 87 cm, Est: $240-480,
Manufactured for an exhibition in 1947 of Modernage fabrics. Desgned by Donald Friend. In 1947 Claudio Alcorso of Silk & Textiles Printers Pty Ltd (STP) organised the exhibition. Modernage Fabrics, which consisted of 46 fabric designs by 33 Australian artists. The fabrics printed by his company in the colours and materials selected by the artists were exhibited in Sydney and Melbourne. Alcorso hoped this textile exhibition would inspire Australian industries to commission Australian artists to design their products instead of copying overseas designs. Sold $260.

designview full entry
Reference: see The Artist as designer. Essay by Elizabeth Bastian. Exhibition catalogue: Ivan Dougherty Gallery, City Art Institute, Nov. 9-30, 1985. Includes bibliographical references.
Publishing details: Paddington, N.S.W., Sydney College of Advanced Education, 1985. Description: 1 v. (unpaged) : ill. ; 26 pp
Landscape and Art; The Collaborative Approachview full entry
Reference: Landscape and Art; The Collaborative Approach. Publication on resources and approaches to community hands on planning and building within public spaces combining landscaping/planting and artworks. [to be indexed]
Publishing details: Richard Dare & Sue Clark
Published . Soft cover. 1st Edition. 12 pages - p/b -l color plates.
Ref: 1000
Hey Daysview full entry
Reference: Hey Days - memories and glimpses of Melbourne’s Bohemia 1937-1947
Publishing details: Imprint (Angus & Robertson/Collins), 1991, pb, 99pp
Agle Josh Shagview full entry
Reference: Hedonist Confidential: New Paintings by Shag, by Martin McIntosh & Gemma Jones. An exhibition catalog by artist Shag. Painter, illustrator and designer Josh ¿Shag¿ Agle is the master of sharp, swinging lounge aesthetic that embraces illustrative finesse, flat perspective, and the type of subtle humour that has become synonymous with Shag's work - a celebration of consumerism through characters who smoke, drink and socialise in fantasy settings. His works are visually influenced by avant-garde animation of the early fifties and sixties, as well as generic advertising art of the same era - such as sci-fi pulp art and sixties clip art.
Publishing details: Outre Gallery Press, Australia, 2002. Soft cover.Shag (illustrator). 1st Edition. 24 pages -
color plates.Limited to 1500 copies.
Ref: 1000
Shagview full entry
Reference: see Hedonist Confidential: New Paintings by Shag, by Martin McIntosh & Gemma Jones. An exhibition catalog by artist Shag. Painter, illustrator and designer Josh ¿Shag¿ Agle is the master of sharp, swinging lounge aesthetic that embraces illustrative finesse, flat perspective, and the type of subtle humour that has become synonymous with Shag's work - a celebration of consumerism through characters who smoke, drink and socialise in fantasy settings. His works are visually influenced by avant-garde animation of the early fifties and sixties, as well as generic advertising art of the same era - such as sci-fi pulp art and sixties clip art.
Publishing details: Outre Gallery Press, Australia, 2002. Soft cover.Shag (illustrator). 1st Edition. 24 pages -
color plates.Limited to 1500 copies.
Phipps Jennifer view full entry
Reference: see Creators & Inventors by Jennifer Phipps. [’This catalog from the NGV exhibition of 1993 has sections on women artists in the 19th century, early 1900s, 1920s, 1930s, 1940s, 1950s, 1960s, 1970s 1980s & '90s. "Women as mythic beings and gods, as portraits, as fictional characters and as ordinary people and incidental figures going about their everyday lives, make up half the images in this handbook . it indicates the kinds of images the NGV has acquired since its first purchase in the 1890's’] [to be indexed]
Publishing details: National Gallery of Victoria, 1993, pb
Shimmen Heatherview full entry
Reference: Heather Shimmen: I Dreamt I Dwelt in Marble Halls. Caroline Field. 1st Edition. 8 pages - color illustrated catalog of works by printmaker Heather Shimmen . Accompanied exhibition of the same title at the Stonington Stables Museum Of Art in 2006.

Publishing details: Published by Stonington Stables Museum Of Art, Victoria Australia (2006)
Ref: 1000
Poulet Peter view full entry
Reference: Peter Poulet: 19 Years of Colour by Jospeh Eisenberg. Peter Poulet?s abstract paintings use colour, fluidity of line, and the juxtaposition of forms to create new environments. His work is influenced by nature and natural phenomenon ? light, air, the feeling of space, enclosure and human interaction with nature giving his art an organic sentiment. His body of work has evolved to explore more complex relationships between objects and forms as he brings in more from the outside world into his pieces. Introduced elements reflect his ideas about the world and include thoughts that were present from the earliest works, thus maintaining continuity of influence and motivation ? nature and expression of his feelings and emotions. This awareness of nature is also crucial to his architecture and his interest in sustainability. The exhibition is accompanied by a catalog, featuring an essay by Joseph Eisenberg.
Publishing details: Maitland Regional Gallery, Australia, 2010. Soft cover. Peter Poulet (illustrator). 1st Edition. 24 pages - with numerous color plate reproductions -
Ref: 1000
Lupp Grahamview full entry
Reference: Persistent Memories: Paintings by Graham Lupp, by Louise Doyle. [’Although the scope of Lupp?s art reflects an interest in a wide range of subjects, his early training in architecture is a pervading influence - not only in his depiction of buildings, but in the carefully structured compositions that typify his work. Lupp employs most media, moving freely between oils, gouache, watercolours and pastels. When drawing he prefers compressed charcoal or coloured pencils. When travelling he sketches in pen and ink and watercolour. Because of his diverse interests his work falls into distinct categories which he revisits as his inclinations dictate. ‘]

Publishing details: Published by Bathurst Regional Gallery, Australia (1999), 18 pages - p/b color plates
Ref: 1000
Burrows Terryview full entry
Reference: Terry Burrows Objectivity, by John Comonos & Ann Finegan. [’Objectivity covers over 10 years of Terry Burrows' significant art practice, including a room devoted to projects completed as a result of residencies in India. Primarily, Terry Burrows creates medium to large-scale, minimal palette-paintings that work between the abstract and the figurative. The 'morphic' shapes which inhabit his canvases, whether sculptural or linear, are a major motif of his work. Terry's practice also encompasses drawing, photography, and video, all of which, to some degree, will be represented in Objectivity. ‘]

Publishing details: Published by Bathurst Regional Gallery, Australia (2018), 36 pages - p/b color plates
Ref: 1000
Gower Elizabethview full entry
Reference: Elizabeth Gower - Cuttings, by Lisa Sullivan & Elizabeth Gower. [’catalogue of work by Elizabeth Gower including essays by Lisa Sullivan. This exhibition profiled work where Gower recycles and collages remnants of popular culture to create exquisite optical patterns and explore ideas of consumerism and consumption. Her work typically involves cutting up and intricately collaging?onto drafting film, canvas or paper surfaces?collected printed ephemera, packaging material and magazine pages. As we become more urgently cognisant of the degradation of our environment and the social impacts of consumerism and global consumption, Gower’s concerns with refuse, redundancy, recycling and new aesthetics gain greater communicative potential and power.’]
Publishing details: Published by Geelong Art Gallery, Australia (2018), 60 pages - p/b - All color plates -
Coast: The Artists Retreatview full entry
Reference: Coast: The Artists Retreat (Mornington Peninsula), various essays by Tim Bonyhady, G W Bot, Rodney James Danny Lacy. . [’For over 200 years, the Mornington Peninsula has been a muse and haven for artists. Attracting a stellar roll call of some of the most recognisable names in Australian art, the wild and rugged coast has inspired works from artists such as Eugene von Guérard, Nicholas Chevalier, Louis Buvelot, Violet Teague, John Perceval and Albert Tucker.This ambitious exhibition will bring together masterpieces from these iconic artists as the basis of an extended conversation, considering our relationship to the coast, to the Australian landscape and our environment. Newly commissioned works from G.W. Bot (pictured above), Megan Cope, Raafat Ishak, Euan McLeod and Kerrie Poliness tackle contemporary questions of our connection to landscape. These commissions, the result of a recently established artist in residence program at Police Point in Portsea, will consider the beauty and magnitude of the coastline through painting, printmaking, sculpture, photography and video.A full colour catalogue includes contributions from Professor Timothy Bonyhady who writes about his personal relationship and time at Cape Schanck with the late Andrew Sayers. Independent curator and former MPRG curator Rodney James capitalises on the twenty cumulative years of research into the region exploring the historical works, with MPRG Senior Curator Danny Lacy reflecting upon the contemporary, and artist G.W. Bot sharing her unique relationship with the landscape. ‘]

Publishing details: Published by Mornington Peninsula Gallery, Australia (2017), 50 pages - p/b - All color plates -
Booth Peter view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Harris Brent view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Gerber Matthys view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
O'Connor Derekview full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Maguire Tim view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Cerkez Mutlu view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Ishak Raafat view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Dowling Julie view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Wallace Anne view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
McMonagle Tim view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Jolly David view full entry
Reference: see It’s a beautiful day - New Painting in Australia: 2. [’color illustrated catalog of works by Australian artists - Peter Booth, Brent Harris, Matthys Gerber, Derek O'Connor, Tim Maguire, Mutlu Cerkez, Raafat Ishak, Julie Dowling, Anne Wallace, Tim McMonagle, David Jolly . Accompanied exhibition of the same title at the NGV & AGNSW in 2002-03 which identified these artists as "new" painters of the 21st century . ‘]
Publishing details: AGNSW, 2000, pb, 48pp, limited edition of 1000. stamped with AGNSW Guides Library stamp.
Beyond Beliefview full entry
Reference: Beyond Belief by Richard Perram. [’Exhibition catalog held at BRAG in 2017. From the C17th onwards there has been a recurring preoccupation with the idea of an art that inspires awe and wonder: the sublime. Historically associated with the natural landscape it remains to contemporary artists using elements of hyper realism, trompe l’oeil, scale, illogic and biology to reinvent the concept of the sublime for modern audiences. Artists include: Daniel Askill, Daniel Crooks, Michael Gallop, Sam Jinks, Christopher Langton, Ron Mueck, Adam Norton, Baden Pailthorpe, Patricia Piccinini and Ricky Swallow. ‘]


Publishing details: Published by Bathurst Regional Gallery, Australia (2017), 64 pages - color plates - p/b
Ref: 225
Art & Airportsview full entry
Reference: Art & Airports - Australia, by Jean Battersby. Overview of major works displayed in the major airports around Australia. Biographies of the artists are not included but there is some biographical information in the essay by Jean Battersby and the publication is extensively illustrtated.

Publishing details: Published by Federal Airports Corporation Australia, Australia (1996), 40 pages - colour plates, pb.
Hart Davidview full entry
Reference: David Hart. [’David Hart was born in 1971 as the son of miner and artist, Pro Hart. Raised in the dusty outback-mining town of Broken Hill, Australia, David spent his early years submersed in arts and culture. He would study various techniques and mediums under the guidance of his father. David¿s work is not easily placed within the boundaries of a single style or genre. He¿s an avid explorer, and his expression has always been underpinned by his passion to push the boundaries of mediums and new applications. He believes experimentation has always been his greatest teacher, and it is through his discoveries, mistakes, and accidents that his greatest works have been created.’]

Publishing details: Published by David Hart, Australia (2009)
Ref: 1000
Tweed River Art Galleryview full entry
Reference: Tweed River Art Gallery: 20 Years
Susi Muddiman. [’The collection of the Tweed Rover Gallery began in 1988 with portraits acquired through the Doug Moran National Portrait Prize. The portrait collection has now grown to over 170 works of art. It also comprises prints, works on paper, paintings and three dimensional artworks by both national and regional artists. Artist included in this volume are - Oilve Cotton, Lawrence Daws, Graham Fransella, Cressida Campbell, Lloyd Rees, Max Dupain, Charles Blackman, Jennt Sages, Adam Cullen, Kevin Connor, Margaret Olley, Pixie O'Harris and more’] No biographical information on artists.

Publishing details: Published by Tweed River Art Gallery, Australia (2008), 52 pages p/b
Kimberley artview full entry
Reference: The John McCaffrey Collection of Kimberley Art - Sothebys. [’Sotheby's auction catalog for the John McCaffrey Collection of Kimberley Art held in Sydney 28 July 2003; the collection is mostly made up of works by Wattie Karruwara, but includes Jack Wherra, Taylor Bunginyen, Jerry Jangoot and others; includes essays by Kim Akerman, biographical notes, map of Kimberley region; full color plates throughout, plus dimensions, prices, short descriptions, etc; + watercolours, shields, boab nuts, didjeridus, boomerangs, clubs, etc’]

Publishing details: Published by Sothebys, Australia (2003). Sothebys, Australia, 2003. Soft cover. 104 pages
Ref: 1000
Aboriginal artview full entry
Reference: see The John McCaffrey Collection of Kimberley Art - Sothebys. [’Sotheby's auction catalog for the John McCaffrey Collection of Kimberley Art held in Sydney 28 July 2003; the collection is mostly made up of works by Wattie Karruwara, but includes Jack Wherra, Taylor Bunginyen, Jerry Jangoot and others; includes essays by Kim Akerman, biographical notes, map of Kimberley region; full color plates throughout, plus dimensions, prices, short descriptions, etc; + watercolours, shields, boab nuts, didjeridus, boomerangs, clubs, etc’]

Publishing details: Published by Sothebys, Australia (2003). Sothebys, Australia, 2003. Soft cover. 104 pages
Davies Isabelview full entry
Reference: Journey Lake Eyre to The Kimberley: Isabel Davies, by Sandy Kirby. [’Exhibition booklet on the artist Isabel Davies who worked in mixed media and assemblage images. While it wasn?t common at that time for women artists to be taken seriously, Isabel Davies' goal was to become a professional artist, and her first exhibition of paintings was held in 1969.Davies then sought a new direction and her exhibitions during the early 1970s featured relief constructions made from materials such as aluminium, wood and perspex. Then, in the mid 1970s, influenced by feminism and the women's art movement Isabel Davies' work changed in a number of ways. She moved away from relief construction, beginning a collage and assemblage practice that has been evident in her work to the present day. At this time, her interest in creating art in boxes also emerged and since then she has used boxes as a vehicle for capturing her ideas. We will advise postage costs and delivery times, which will vary from those quoted by ABE. Seller Inventory # 001309’]

Publishing details: Published by Macquarie Galleries Sydney, Australia (1993)
Ref: 1000
Mawurndjul Johnview full entry
Reference: John Mawurndjul Survey 1979-2009,
various authors. Exhibition catalog from Survey exhibition of 2009. Includes three essays - John Mawurndjul and the Creation of a Distinct Identity; Mawurndjul's Perspective; John Mawurndjul and the art of Printmaking - plus biographical details

Publishing details: Published by ANU Drill Hall Gallery, Australia (2009)
Ref: 1000
Parr Mikeview full entry
Reference: Volte Face: Mike Parr Prints & Reprints 1970-2005, by Rachel Kent. [’In this exhibition a selection of key print works were brought together for the first time in Sydney. Although Parr produced his first print in 1987, the exhibition contextualised his printmaking practice through text and instruction pieces from the early 1970s, and presented preliminary drawings or ?story boards? alongside printing plates as a way of revealing the mental and physical processes through which the prints evolved. This exhibition, as its title Volte Face (or ?about face) indicates, focused on the self portrait as a pivotal theme in Parr’s practice over the last 35 years. including printmaking terms and exhibition history of Parr.’]


Publishing details: Published by Museum of Contemporary Art Sydney, Australia (2006)
Ref: 1000
Moffatt Traceyview full entry
Reference: Tracey Moffatt by Tracey Moffatt & Elizabeth Macgregor. [’small booklet in as new unmarked condition.A director of photo-narratives, Tracey Moffatt is highly regarded for her formal and stylistic experimentation in film, photography and video. Her photographs often reference the history of art and photography, as well as her own childhood memories and fantasies, exploring issues of race, gender, sexuality and identity. ‘]

Publishing details: Published by Museum of Contemporary Art Sydney, Australia (2003)
Ref: 1000
Bourke Aceview full entry
Reference: Flesh + Blood: A Sydney Story 1788-1998
Joan Kerr and Ace Bourke. [’This exhibition was based on well-known curator and arts identity Ace Bourke?s story of Sydney. Through paintings, artworks, heirlooms and anecdotes Bourke wove a tale of Sydney that connected him to his influential ancestors, including Governors Bourke and King as well as to contemporary Sydney, through images by leading indigenous and non-indigenous artists. ‘] 24 artists listed, from Colonial to Contemporary but no biographical information on them.
Publishing details: Published by Historic Houses Trust NSW, Australia (1998), 22pp
Ref: 138
Fashion in the Age of Queen Victoriaview full entry
Reference: Fashion in the Age of Queen Victoria
Charlotte Smith & Karen Quinlan. [’Australian resident, Charlotte Smith, became the custodian of her godmother Doris Darnell¿s world renowned collection of exquisite vintage clothing and accessories. With more than 4000 exquisite pieces including couture from Dior and Versace, it is the largest of its kind in Australia. Fashion in the Age of Queen Victoria is the first exhibition of this collection in a major public gallery. Showcasing more than 25 dresses dating from the 1840s to 1900, the exhibition provides extraordinary examples of day and evening wear from this period. Doris Darnell, a Quaker from Pennsylvania, USA, began collecting costume in the 1940s and the collection now comprises more than 4000 items from the Regency period to the 1980s. Quaker doctrine opposes following fashion and collecting, but Darnell circumvented this rule by wearing many of the items given to her. The Victorian era witnessed dramatic changes in terms of the evolution of industry (¿from the hand-made to the machine-made¿) and society (¿the rise of the middle class¿), anticipating the earliest beginnings of modern times. Changes which occurred at that time still resonate with our lifestyle today. The Industrial Revolution had an enormous impact not only on technological advancements, but also on social and moral systems. Cities grew exponentially during this time and there was a vast increase in the number of poor people living in metropolitan areas. But it was also a time when the middle classes, with their new-found power, began to influence society. The richness and diversity of this era is mirrored by its fashion. We see a multitude of changes in shape and size in parallel to the rapidly changing society, cage crinolines (from metal) and spring bustles, machine-made lace and braiding. We witness a dramatic change in women¿s roles from the early Victorian period through to the end of the nineteenth century. As evidenced by their clothes, in the 1840s, women were expected to be gentle demure ¿creatures¿ with no need to engage with strenuous activity they wore tight, confining costumes which allowed only limited movement. By the turn of the century women were more actively involved in daily life and their clothes reflected this. They had become less confined and constrained ¿ and so had their clothes, and in some cases they were even permitted to wear pants! ‘]
Publishing details: Bendigo Art Gallery, Australia, 2008., 46 pp
Ref: 1000
Birch Stephenview full entry
Reference: Stephen Birch: Looking Out My Back Door
Vivienne Webb. [’Stephen Birch’s sculptures and installations employ everyday forms while simultaneously unsettling our sense of the comfortable or familiar. Playing with scale and context and using a range of materials that draw attention to the production process, Birch?s works draw us into eerie yet humorous parallel worlds, where linear readings become frustrated and the borders between reality and illusion are blurred. The sculptures of Stephen Birch simultaneously disturb and amuse. His handcrafted plant forms, human figures and common urban objects build scenarios that tease and toy with the viewer. Taking on both human characteristics and broader symbolism, they evoke complex and nuanced states of mind as well as reflections upon society and culture. ‘]

Publishing details: Published by Museum of Contemporary Art Sydney, Australia (2007), 60pp
Ref: 1000
Sydney Convention Centre art collectionview full entry
Reference: The Art Collection of the Sydney Convention Centre, by Lisa Chandler & Andy Hede. Includes notes on the artists and their works. [’This is a catalog of the Convention Centres Collection promoting Australian artists. Artists include Blackman, Connor, Michael Johnson, Lanceley, Sandra Leveson, John Olsen, Gloria Petyarre, Lloyd Rees, Tim Storrier, Ann Thompson, Brett Whiteley, et al.’]

Publishing details: Published by Sydney Convention & Exhibition Centre Sydney, Australia (2006), pb, 48pp.
O'Toole Eamon view full entry
Reference: Eamon O'Toole: Big Boys Toys
Ted Gott. [’Exhibition catalog from 2012. Eamon O'Toole is an artist who is fuelled by his life-long passion for all things motorsport which he turns into sculptural creations. This exhibition celebrates motor racing and is open to all ages. You will be able to look up close at full-scale replicas handcrafted from plastic, aluminium and paint. A Sidchrome tool kit opens up "like a jewel box" is a poetic description Eamon has used. Not your average perspective but then this is not your average art exhibition and not for your average art critic either. ?There?s an F1 car in the show and basically I had photos of the car and I made a rough tube shape to the right scale and cobbled it together and then filed off the plastic,? he says. If you look closer, you can see the hose is a piece of rope and it’s all painted.’

Publishing details: Published by Art Gallery of Ballarat, Australia (2012), 36pp
Ref: 1000
Artists in Actionview full entry
Reference: Artists in Action - from the Collection of the Australian War Memorial. A selection of art works from the AWM's collection, relating to all services and covering most of the major conflicts in which Australia has been involved. The focus is on Australian artists rather than international artists in the collection. The chapters include - colonial; First World War; Second World War; Post-45 conflicts; commemorative. Numerous color plates.
Publishing details: AWM 2003, 172pp, hc
Framing Artview full entry
Reference: Framing Art: Theory and the Visual Image, by Michael Carter. [’Never before has it been so easy to encounter art, be it in public museums, book, or in mass media. Sophisticated technology for reproduction of visual images has resulted in a wide range of historical art styles, as well as contemporary art, jostling for the viewer's attention. This profusion of images can be overwhelming; anxiety, confusion and uncertainty have been the constant companions of modern art. Contemporary art theory has often been accused of making this already complex situation worse with its impenetrable jargon and overly complex formulations. Framing Art guides the reader through the processes of art production; the nature of the codes, conventions and symbols at work in visual images; and the dimensions that form the encounters between art and spectator, set within the diverse settings which make up the modern art world. It also introduces some theoretical influences that are current in contemporary thinking about art, such as cultural codes, psychoanalysis, and semiotics. As such, Framing Art is of interest not only to the student or reader of art history, but to anyone with a desire to understand more about the impact of image on social and cultural values. Introduces students to the theoretical foundations that have widely influenced the study of visual arts and art history since the early 1970's. Various illustrators.’] [to be indexed]

Publishing details: Published by Hale and Iremonger, Australia (1993), 211pp [this copy with previous owqner’s name and some underlinings]
Fussell Chrisview full entry
Reference: from the artist’s website:
EXHIBITIONS (with Frances Fussell?):
1970, Graduates Club
1987, 88, Raglan Gallery, Manly
1988, Morpeth Gallery
1989, Casey Gallery
1992-2001, Collectors Choice, Von Bertouch Galleries
1993, Hunter Valley Printmakers, Lake Macquarie Regional Gallery
1994, Blaxland Gallery, Sydney
1994, von Bertouch Galleries - sculpture and paintings
1994-98 , Forgeries of the Masters, Lake Macquarie Regional Gallery
1997, von Bertouch Galleries - sculpture and paintings
2002, von Bertouch Galleries - sculpture and paintings
2005, Oriel Gallery, Brisbane
2006, Oriel Gallery, Brisbane
Chris Fussell
I like to try and capture the childlike joy of creating, whether it is painting or sculpture. Pushing the medium to the limits of control. It becomes a relationship between subject, medium & self, always fluctuating.
In landscape I like the rhythm of nature and the sheer beauty of the planet we are blessed to be part of, which seems to be often forgotten these days.
Acrylic paint dries fast and is at it’s best with a translucent quality giving the artist the opportunity to put down a lot of glazes very rapidly and skidding over the hard surface of board one can maximize a variety in paint quality and depth.

Publishing details: http://www.crowtrapstudio.com/about-the-artists/
Fussell Francesview full entry
Reference: from the artist’s website:
EXHIBITIONS (with Chris Fussell?)
1970, Graduates Club
1987, 88, Raglan Gallery, Manly
1988, Morpeth Gallery
1989, Casey Gallery
1992-2001, Collectors Choice, Von Bertouch Galleries
1993, Hunter Valley Printmakers, Lake Macquarie Regional Gallery
1994, Blaxland Gallery, Sydney
1994, von Bertouch Galleries - sculpture and paintings
1994-98 , Forgeries of the Masters, Lake Macquarie Regional Gallery
1997, von Bertouch Galleries - sculpture and paintings
2002, von Bertouch Galleries - sculpture and paintings
2005, Oriel Gallery, Brisbane
2006, Oriel Gallery, Brisbane
Most of my life I have loved to paint flowers – to me they are just so beautiful. The variety, vibrancy of colour & shapes is endless , each bloom ‘ natures masterpiece’ & to capture their beauty has been my aim. I also like the challenge of creating an interesting still life where I can combine texture, design & the pattern of various cloths, fabrics & props with the colour & mood of the blooms or fruit I have chosen for the work. Composition plays an important role in my work too- with the eye being lead freely through the picture, whether it be an interior still life or one of my flower close up’s.
Hopefully one should never be bored with my interpretation. . Chiaroscuro & the Dutch flower painters of the 17 th century have been an inspiration but I also love the freedom & vitality of the moderns like Van Gogh & Matisse & so many of the Impressionist & Post Impressionist painters . What I hope to achieve is to evoke some of this feeling to the viewer.
Publishing details: http://www.crowtrapstudio.com/about-the-artists/
Rafty Tonyview full entry
Reference: see Smalls Auction, 1 March, 2020, lots 64-6:
'Thinks it's time for another …'
Dimensions
Frame measures 44x31cms
Medium
1348
Date
Fine Art
Exhibited
Australian
Literature
Drawing
Notes
An unrepentant Frank Sinatra was heard to comment after his disastrous 1974 tour that “a funny thing happened in Australia. I made one mistake. I got off the plane.” Sinatra had returned serve to the Australian Press calling its women journalists “buck and a half - hookers” after they had captioned his female travelling companions as “Sinatra’s Molls.” It is regarded as a national sport in Australia to cut a tall poppy down to size and, with the journalists’ demands for an apology unanswered, retribution was swift starting with the forced cancellation of the remainder of his tour dates and a union ban slapped on the movement of his private jet. Sinatra stuck to his guns and snuck out of Melbourne on a commercial flight eventually holing up at Sydney’s Boulevarde Hotel while the Australian Press laid siege outside. Not everyone was mad at ‘Cranky Frank’ and the Australian actor Max Cullen remembers him entertaining lucky bar patrons at the hotel with song to while away the hours, and we have in the past handled autographed notes of appreciation that he gave out to local supporters. It took all the efforts of Bob Hawke the President of Australian Council of Trades Unions (later an Australian Prime Minister) to negotiate his exit from Australia with a statement of regret - but no apology. Frank certainly did it his way and, to paraphrase his famous song, any regrets he had were too few to mention, and I’m sure he quickly rescinded the one forced out of him the moment he left our shores. In November 1980 the King O’Malley Theatre Company relived the event when it staged the Denis Whitburn play 'The Siege of Frank Sinatra' at Sydney’s Stable Theatre with Max Cullen starring in the role of Frank. Tony Rafty, the cartoonist for Sydney’s ‘Sun’ newspaper, and a member of Frank’s reviled press, took in a performance and captured the craziness of the events portrayed with a black and white sketch he dedicated to the cast. Frank of course exited stage left in 1998, and I might add without the help of Bob Hawke who still gets the occasional gig at his party’s political functions - but his stage spirit still lives on in Max Cullen who now operates the ‘Picture House Gallery & Bookshop’ at Gunning in country New South Wales, while taking on an occasional stage role. Max is the ultimate raconteur with an encyclopaedic knowledge of Australian stage and film, and so it is well worth a diversion if you are on the road to Canberra and you’re interested in the inside dope. Playwright Denis Whitburn kicked on to enjoy a successful career as a writer and producer of Australian films, and while the ‘Sun’ newspaper set in the west in 1988 never to rise again, its cartoonist Tony Rafty died only a few years back only days short of his Century. This framed cartoon as drawn by Tony Rafty is signed on the front by playwright Denis Whitburn and on the back of the frame by actor Max Cullen aka Frank.
+
Titled 'Ol Cranky Frank arrives the F…… Bastard'. Signed by the playwright Denis Whitburn, and on the back of frame by Max Cullen who played the part of Frank Sinatra.
Dimensions
Frame measures 44x31cms
Medium
1348
Date
Fine Art
Exhibited
Australian
Literature
Drawing
Notes
An unrepentant Frank Sinatra was heard to comment after his disastrous 1974 tour that “a funny thing happened in Australia. I made one mistake. I got off the plane.” Sinatra had returned serve to the Australian Press calling its women journalists “buck and a half - hookers” after they had captioned his female travelling companions as “Sinatra’s Molls.” It is regarded as a national sport in Australia to cut a tall poppy down to size and, with the journalists’ demands for an apology unanswered, retribution was swift starting with the forced cancellation of the remainder of his tour dates and a union ban slapped on the movement of his private jet. Sinatra stuck to his guns and snuck out of Melbourne on a commercial flight eventually holing up at Sydney’s Boulevarde Hotel while the Australian Press laid siege outside. Not everyone was mad at ‘Cranky Frank’ and the Australian actor Max Cullen remembers him entertaining lucky bar patrons at the hotel with song to while away the hours, and we have in the past handled autographed notes of appreciation that he gave out to local supporters. It took all the efforts of Bob Hawke the President of Australian Council of Trades Unions (later an Australian Prime Minister) to negotiate his exit from Australia with a statement of regret - but no apology. Frank certainly did it his way and, to paraphrase his famous song, any regrets he had were too few to mention, and I’m sure he quickly rescinded the one forced out of him the moment he left our shores. In November 1980 the King O’Malley Theatre Company relived the event when it staged the Denis Whitburn play 'The Siege of Frank Sinatra' at Sydney’s Stable Theatre with Max Cullen starring in the role of Frank. Tony Rafty, the cartoonist for Sydney’s ‘Sun’ newspaper, and a member of Frank’s reviled press, took in a performance and captured the craziness of the events portrayed with a black and white sketch he dedicated to the cast. Frank of course exited stage left in 1998, and I might add without the help of Bob Hawke who still gets the occasional gig at his party’s political functions - but his stage spirit still lives on in Max Cullen who now operates the ‘Picture House Gallery & Bookshop’ at Gunning in country New South Wales, while taking on an occasional stage role. Max is the ultimate raconteur with an encyclopaedic knowledge of Australian stage and film, and so it is well worth a diversion if you are on the road to Canberra and you’re interested in the inside dope. Playwright Denis Whitburn kicked on to enjoy a successful career as a writer and producer of Australian films, and while the ‘Sun’ newspaper set in the west in 1988 never to rise again the cartoonist Tony Rafty died a few years back only days short of his Century.
+
Titled 'You can go and get …… Who said I was a Piss Pot ….. Get the A.J.A. on to you Hic.' Dedicated to Max (Cullen) Very best wishes. You remind me of the Journo Club at 2 AM"
Dimensions
Frame measures 44x31cms
Medium
1348
Date
Fine Art
Exhibited
Australian
Literature
Drawing
Notes
An unrepentant Frank Sinatra was heard to comment after his disastrous 1974 tour that “a funny thing happened in Australia. I made one mistake. I got off the plane.” Sinatra had returned serve to the Australian Press calling its women journalists “buck and a half - hookers” after they had captioned his female travelling companions as “Sinatra’s Molls.” It is regarded as a national sport in Australia to cut a tall poppy down to size and, with the journalists’ demands for an apology unanswered, retribution was swift starting with the forced cancellation of the remainder of his tour dates and a union ban slapped on the movement of his private jet. Sinatra stuck to his guns and snuck out of Melbourne on a commercial flight eventually holing up at Sydney’s Boulevarde Hotel while the Australian Press laid siege outside. Not everyone was mad at ‘Cranky Frank’ and the Australian actor Max Cullen remembers him entertaining lucky bar patrons at the hotel with song to while away the hours, and we have in the past handled autographed notes of appreciation that he gave out to local supporters. It took all the efforts of Bob Hawke the President of Australian Council of Trades Unions (later an Australian Prime Minister) to negotiate his exit from Australia with a statement of regret - but no apology. Frank certainly did it his way and, to paraphrase his famous song, any regrets he had were too few to mention, and I’m sure he quickly rescinded the one forced out of him the moment he left our shores. In November 1980 the King O’Malley Theatre Company relived the event when it staged the Denis Whitburn play 'The Siege of Frank Sinatra' at Sydney’s Stable Theatre with Max Cullen starring in the role of Frank. Tony Rafty, the cartoonist for Sydney’s ‘Sun’ newspaper, and a member of Frank’s reviled press, took in a performance and captured the craziness of the events portrayed with a black and white sketch he dedicated to the cast. Frank of course exited stage left in 1998, and I might add without the help of Bob Hawke who still gets the occasional gig at his party’s political functions - but his stage spirit still lives on in Max Cullen who now operates the ‘Picture House Gallery & Bookshop’ at Gunning in country New South Wales, while taking on an occasional stage role. Max is the ultimate raconteur with an encyclopaedic knowledge of Australian stage and film, and so it is well worth a diversion if you are on the road to Canberra and you’re interested in the inside dope. Playwright Denis Whitburn kicked on to enjoy a successful career as a writer and producer of Australian films, and while the ‘Sun’ newspaper set in the west in 1988 never to rise again the cartoonist Tony Rafty died a few years back only days short of his Century. This framed cartoon as drawn by Tony Rafty is signed on the front by playwright Denis Whitburn and on the back of the frame by actor Max Cullen aka Frank.
Kingston Peterview full entry
Reference: 2-page article by Linda Morris on Peter Kingston in Sydney Morning Herald, 22-3 February, 2020. Spectrum, p3-4.
Publishing details: SMH, 2020.
Mucci Michaelview full entry
Reference: obituary in Sydney Morning Herald, by Matt Bungard, November 27, 2019
Publishing details: SMH, 2019
Ref: 135
Know my name 2020 outdoor art eventview full entry
Reference: Know my name - National Gallery of Australia Art event 2020.
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Works of art by 45 women artists from the national collection are being featured around Australia as part of the immersive multi-platform Know My Name National Art Event.
The nationwide event was first presented in partnership with oOh!media for six weeks in early 2020, where 76 works of art were displayed across 1,500 locations around Australia – billboards, bus shelters, railway stations, shopping centres, office blocks and cafes. The event has expanded to a second phase with the addition of Google Lens which runs until the end of January 2021.
Google custom-built an immersive audio-visual capability, allowing audiences to engage with the Out of Home panel and uncover the story behind six Know My Name artists: Melinda Harper, Nora Heysen, Olive Cotton, Robyn Stacey, Grace Cossington Smith and Mirdidingkingathi Juwarnda Sally Gabori.
When viewing the work through the Google Lens app, a short video appears from the work of art. The Lens capability works wherever the works of art are viewed, whether on oOh!’s Out of Home assets across Australia or in the National Gallery itself.
The National Art Event is a highlight of the Know My Name initiative, transforming public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life.
The 45 women artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The 76 works of art include historical works from the 1920s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
Close to 80% of the Australian population encountered one or more of the oOh!media sites during the first phase of the National Art Event. The project brought the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art.
The Know My Name National Art Event has been acknowledged and celebrated as one of the best Out of Home creative and innovative executions in 2020, with the National Gallery of Australia and oOh!media winning the Outdoor Media Association Creative Collection award for the Best Use of Multi-Format category.
Publishing details: catalogue and related publication details unknown. 2020
women artistsview full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Club Ate
view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Apuatimi Jean Baptiste

view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Barton Del Kathryn

view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Black Dorritview full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Chapman Dora
view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Cossington Smith Grace
view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Cotton Olive
view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Crowley Grace

view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Cuppaidge Virginia


view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Dawson Janet



view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
de Medici eX



view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Dumbrell Lesley




view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Dumbrell Lesley





view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Fahd Cherine



view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Ferran Anne




view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Ford Sue





view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Goodsir Agnes






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Hall Fiona






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Harper Melinda






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Hester Joy






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Heysen Nora






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Hobson Naomi






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Jerrems Carol






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Juli Mabel






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Juwarnda Sally Gabori Mirdidingkingathi






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
King Inge








view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Kngwarreye Emily Kame







view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Koolmatrie Yvonne






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Laing Rosemary






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Marawili Nonggirrnga






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Mestrom Sanné






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Moffatt Tracey






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Newmarch Ann






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Olley Margaret






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Papapetrou Polixeni






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Piccinini Patricia






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Preston Margaret






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Proctor Thea






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Nicholas Hilda Rix






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Smart Sally






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Spowers Ethel






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Stacey Robyn






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Watson Judy






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Yunupingu Nyapanyapa






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Worth Margaret






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Yunupingu Nyapanyapa






view full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Zahalka Anneview full entry
Reference: see Know my name - National Gallery of Victoria Art event 2020.
National Art Event
The Know My Name National Art Event is a nationwide event presented in partnership with oOh!media. For six weeks, starting from 24 February, 1500 static and digital locations across metro and regional Australia will feature images of works by Australian women artists from the national collection, reaching more than twelve million Australians.
As a highlight of the Know My Name initiative, the project aims to transform public space across multiple platforms, increasing access to the National Gallery of Australia’s collection and educating the broader public about the contributions of women artists to Australian cultural life. 
The forty-five women-identifying artists featured in the project include Aboriginal, Torres Strait Islander and non-Indigenous artists. The seventy-six works include historical works from the 1920’s through to contemporary works and are of diverse mediums including painting, photography, printmaking and sculpture.
From large scale billboards, to bus shelters and shopping centres across the country, the project brings the National Gallery’s collection into non-traditional and unexpected environments.
With close to 80% of the Australian population expected to encounter one or more of the oOh!media sites the project brings the names and works of Australian women artists into the everyday lives of Australians, with a call to celebrate their work, know their names and know their art. 
24 Feb – 29 Mar Digital sites 
16 Mar – 12 Apr Print sites

Know My Name is an initiative of the National Gallery of Australia to celebrate the significant contributions of Australian women artists. The initiative aims to increase the representation of artists who identify as women and enhance understanding of the contributions they have made and continue to make to Australia's cultural life. 
Know My Name is a defining moment in the history of the Gallery and asserts the National Gallery's new mission to lead a progressive and inclusive cultural agenda. 
From 2020-21 Know My Name will deliver a vibrant program of exhibitions, events, commissions, creative collaborations, publications and partnerships, that highlight the diversity and creativity of women artists through history to the present day. 
The National Gallery acknowledges that only 25% of the Australian art collection is by women. As part of Know My Name the Gallery has implemented new guiding principles to ensure gender parity in future programming, collection development and organisational structures.
Know My Name is also an invitation to the cultural sector and to communities more broadly, to recognise and highlight the work of women across diverse creative practices. 
The initiative is being delivered in partnership with the Australian Broadcasting Commission, oOh!media, Wikimedia Australia and cultural partners The Countess Report, Australia Council for the Arts, Australian Ballet, Sydney Opera House and National Museum of Women in the Arts, Washington D.C.
Know My Name is part of a global movement to increase representation of women identifying artists. It builds on the work of groups supporting gender equity cross the arts including Countess, Shiela Foundation and the #5WomenArtists campaign by the National Museum of Women in the Arts in Washington, DC.
Celebrate Australian women artists - see their art, hear their stories and know their names.

Publishing details: catalogue and related publication details unknown. 2020
Laycock Donaldview full entry
Reference: Donald Laycock
‘This is his second show with this gallery, though I have been an admirer since 1971 and a collector since 1982.  The works in this exhibition come mostly from two sources.  First, from the collection of Mirka Mora (with whom he had a famous affair in the late 1950's) and the remainder from the collection of David Draffin (who had known his work well from his time as gallery assistant at South Yarra Galleries, where Don exhibited in the 60's and 70's).
The range is extensive – from the jewelled, all-over surfaces of the 50's - which Gary Catalano argued were closer to American abstraction than to much of the Sydney artists of the period - through to the music-inspired works commissioned for the Arts Centre.  It also includes work centred around his interest in Eastern mysticism, as well as studies for his brief but bold approach to the human figure which came to fruition in his suite of life sized portraits of ancient Mesopotamian potentates which were selected for the Helena Rubinstein Scholarship in 1962.’
Publishing details: Charles Nodrum Gallery, 2020,
Ref: 1000
Stuart Guyview full entry
Reference: Guy Stuart [From catalogue: ‘His subject is the land – and its trees – but his handling is suggestive rather than literal, and the aim is to evoke rather than depict.  He explores visually from three angles; in some he looks up at trees on a hillside; in others, down from, say, a bridge or a knoll, at a creek or valley. In both, the sky plays little or no part. The third takes a level-eyed perspective which, if the subject is a cliff-face, will give a similar sense of enclosedness to the previous two, but if the subject is a more open landscape, the result is a more open painting.
If these elements have been apparent, in greater or lesser degrees for many years, these recent works show an increasingly exploratory approach to colour. The trees are bolder for being blue and the landscape more inviting for being more loosely and swiftly brushed.’]
Publishing details: Charles Nodrum Gallery, 2020,
Ref: 1000
Dawson Janetview full entry
Reference: Janet Dawson
We have shown a number of Janet Dawson’s works in group exhibitions over the years but this is the first solo show.  Relations began decades ago when she was living in country New South Wales, so contact was not easy, but when she recently came to live in Ocean Grove that problem disappeared, particularly since she is now living near Guy Stuart, one of her oldest artist friends from their Gallery A days.  If currently his theme is the land, hers is the sky. She looks at clouds with the interested eye of the collector or the searching gaze of one looking for a friend in a crowd.  It’s difficult not to think of Hamlet poking gentle fun at Polonius’s ability (and ours) to interpret shapes so variously.
... yonder cloud that’s almost in shape of a camel?
.... tis most like a camel, indeed.
.. Methinks it is like a weasel.
... It is backed like a weasel.
... Or like a whale?
... Very like a whale.
Tempting though this may be, it should never distract from the deftness of the graphic touch and the almost mesmerising fascination we all experience when gazing at clouds.
Publishing details: Charles Nodrum Gallery, 2020,
Ref: 1000
Gilson Marleneview full entry
Reference: Marlene Gilson - On Country, exhibition catalogue with biographical details and 7 works illustrated in colour.
Publishing details: Martin Browne Contemporary, 2020, 20pp, with price list inserted.
Ref: 135
Hattam Katherineview full entry
Reference: Katherine Hattam - The Landscape of Language, exhibition invite with brief essay
Publishing details: Arthouse Gallery, 2020, 2pp
Ref: 135
Behrens Monikaview full entry
Reference: Space for Time, exhibition at Martin Browne Contemporary. Invite has 5 colour illustrations
Publishing details: Martin Browne Contemporary, 2020 6-page folding card invite.
Ref: 135
Jerrems Carolview full entry
Reference: Carol Jerrems: Portrait of a Decade -
Smith & Singer – formerly Sotheby’s Australia – is proud to announce that Carol Jerrems: Portrait of a Decade is now on view in Melbourne, from 27 February to 20 March 2020, 10am to 5pm, Monday to Saturday, at 14-16 Collins Street, Melbourne, 3000.
 
Presented in Melbourne and then Sydney, this exhibition is the most comprehensive and fully documented commercial exhibition of Carol Jerrems’ work ever held.
 
The 26 works in the exhibition trace the extraordinary iconography of one of the most revered and rarest of all Australian photographers who, in her brief but intense career, produced gritty and luminous images that continue to challenge and inspire.  Bookending a decade, these highly personal and purely figurative compositions include some of the most sensitive, revealing, forceful and compelling images of ‘Living in the Seventies’ in Australia. (1)
  
Following the exhibition in Melbourne, Carol Jerrems: Portrait of a Decade will be presented in our Sydney galleries from 26 March to 17 April 2020.
 
(1) This phrase, the title of Melbourne band Skyhooks’ debut album and hit single of 1974, was also the title of a touring exhibition of Jerrems’ work organised by the Australian National Gallery in 1990-1991
Publishing details: Smith & Singer – formerly Sotheby’s Australia , 2020, catalogue details unknown
Ref: 1000
Sun Pictures of New South Walesview full entry
Reference: see Sun Pictures of New South Wales by John Paine (1834 - 1915) [Colonial Photographer], 3 vols with 30 albumen prints
Publishing details: Sydney, c1880
Hessling A S 1896view full entry
Reference: see CUTTLESTONES AUCTIONEERS, UK, 5 March, 2020, lot 254: A.S.HESSLING (XXI). Australian harvest scene, signed lower right and dated 1896, oil on canvas, framed, 38 x 60 cm
Jerrems Carolview full entry
Reference: A book about Australian women. Photographs by Carol Jerrems. Text edited by Virginia Fraser.
‘A book about Australian women was published on the eve of International Women’s Year and following the establishment of the Office for Women’s Affairs by the Whitlam government in 1973. The book, described as a ‘collective portrait’, featured interviews by writer and artist Virginia Fraser, along with 131 photographs by Carol Jerrems of women from various walks of life. Some, such as Wendy Saddington, were already well known; others, such as Anne Summers, subsequently became prominent in their fields.’ – National Portrait Gallery website


Publishing details: Melbourne : Outback Press, 1974. Quarto, illustrated wrappers. pp.141; [3], small 5 mm cigarette (?) burn mark to margin of first four leaves, illustrated in black and white.
Ref: 1000
Nixon Johnview full entry
Reference: John Nixon : experimental painting workshop
“John Nixon is one of Australia’s foremost artists…This exhibition presents a recent selection from Nixon’s Experimental Painting Workshop (EPW), a project that began in London in 1978 and continues to this day. Rejecting narrative, realism and pictorialism which he sees as limitations on painting, Nixon’s EPW proposes an expanded, and expanding, definition via the principles of modernist non-objectivity, specifically, the monochrome, Minimalism and Constructivism, and dynamic approaches to their exhibition. In his employment of the ready-made object, made famous by Marcel Duchamp in the early 20th century, Nixon demonstrates an intuitive method of collecting, rationalising and repurposing the everyday into otherwise abstract works. The en masse presentation of this exhibition is a hallmark of the EPW, offering both a spectacular experience of the whole, while also giving emphasis to individual works as evidence of the progression of Nixon’s thesis on the open-ended possibilities for painting.”

Publishing details: Castlemaine : Castlemaine Art Museum, [2017]. Octavo, wrappers, pp. 105, illustrated in colour.
Ref: 1000
architecture in Tasmaniaview full entry
Reference: see A far microcosm : building and architecture in Van Diemen’s Land and Tasmania 1803-1914 by Eric Ratcliff.
Four volumes, small quarto, pictorial laminated card covers, illustrated, in pictorial slipcase. “A Far Microcosm is a detailed history to 1914 of Tasmania’s architecture, its influences, its construction, and the adaption of forms and building methods to suit the climate. [to be indexed]
Publishing details: Launceston, Tas. : Fullers Bookshop with Foot and Playsted, 2015. Edition limited to 500 copies.
far microcosm A : building and architecture in Van Diemen’s Land and Tasmania 1803-1914 view full entry
Reference: A far microcosm : building and architecture in Van Diemen’s Land and Tasmania 1803-1914 by Eric Ratcliff.
Four volumes, small quarto, pictorial laminated card covers, illustrated, in pictorial slipcase. “A Far Microcosm is a detailed history to 1914 of Tasmania’s architecture, its influences, its construction, and the adaption of forms and building methods to suit the climate. [to be indexed]
Publishing details: Launceston, Tas. : Fullers Bookshop with Foot and Playsted, 2015. Edition limited to 500 copies.
Ref: 1000
Grosvenor Schoolview full entry
Reference: The cutting edge of modernity : linocuts of the Grosvenor School by SAMUEL, Gordon Samuel andNicola Penny. [to be indexed]
The Cutting Edge of Modernity offers an insightful overview of the principle artists of the linocutting movement and discusses how they varied in their treatment of subject matter and technical approach. The process of linocutting is examined, including the various papers and inks that were employed. The comprehensive notes for collectors, which include a list of the prints made by the artists, will be invaluable for collectors and print enthusiasts alike. Illustrated in colour throughout with over fifty illustrations of these remarkable prints, The Cutting Edge of Modernity is a book for all those with an interest in printmaking and twentieth-century British art.” – the publisher.
Includes works by Australians Dorrit Black, Eveline Syme and Ethel Spowers.
[’The demand for the licuts produced by artists of the Grosvenor School in the 1920s and 30s has never been so great. The prints of Claude Flight, Cyril Power, Sybil Andrews and Lill Tschudi, among others, have a world-wide reputation. Their popularity can be attributed to the vibrancy and energy they portray. Following in the footsteps of Futurism, they captured the spirit of their time, immortalising the rapidly-changing world from which they emerged. Through his teaching at the Grosvenor, Claude Flight ignited a new interest in the technique of licutting. He actively promoted his own work and that of his pupils both in England and abroad and encouraged prominent London galleries to hold regular exhibitions. As a result, the reputation and practice of linocutting has flourished worldwide. This volume offers an overview of the principle artists of the movement and discusses how they varied in their treatment of subject matter and technical approach. The process of linocutting is examined, including the various papers and inks that were employed. The comprehensive tes for collectors, which include a list of the prints made by artists, should be valuable for collectors and print enthusiasts alike. Illustrated in colour throughout with over 50 illustrations of these prints, The Cutting Edge of Modernity is a book for all those with an interest in printmaking and 20th-century British art. ‘]

Publishing details: Aldershot, Hampshire : Lund Humphries, 2002. Quarto, illustrated wrappers, pp.72, illustrated. 48 colour and 1 b&w illustration

Ref: 1009
linocut artistsview full entry
Reference: see The cutting edge of modernity : linocuts of the Grosvenor School by SAMUEL, Gordon and PENNY, Nicola.
The Cutting Edge of Modernity offers an insightful overview of the principle artists of the linocutting movement and discusses how they varied in their treatment of subject matter and technical approach. The process of linocutting is examined, including the various papers and inks that were employed. The comprehensive notes for collectors, which include a list of the prints made by the artists, will be invaluable for collectors and print enthusiasts alike. Illustrated in colour throughout with over fifty illustrations of these remarkable prints, The Cutting Edge of Modernity is a book for all those with an interest in printmaking and twentieth-century British art.” – the publisher.
Includes works by Australians Dorrit Black, Eveline Syme and Ethel Spowers.


Publishing details: Aldershot, Hampshire : Lund Humphries, 2002. Quarto, illustrated wrappers, pp.72, illustrated.

Nolan Sidneyview full entry
Reference: Sidney Nolan : retrospective exhibition
Presented by Australian Embassy, Dublin, An Chomhairle Ealaíon, the Arts Council of Ireland.
Publishing details: Ireland ; 19 June – 5 July 1973, Royal Dublin Society. [S.l. : s.n.], 1973. Quarto, illustrated gatefold wrappers, pp. 60, illustrated.
Ref: 1000
Seton Alexanderview full entry
Reference: Alex Seton. Last resort
Catalogue authors: Glenn Barkley and 3 others. Catalogue of an exhibition held at McClelland Sculpture Park + Gallery, Langwarrin, 16 November 2014 – 12 July 2015,
Publishing details: Langwarrin, Victoria : McClelland Sculpture Park + Gallery, [2014]. Quarto, laminated boards, pp. 48, illustrated.
Ref: 1000
Modern art – ancient iconview full entry
Reference: Modern art – ancient icon : a gallery of dreamings from aboriginal Australia
Compiled and collected by Hank Ebes and Michael Hollow. Catalogue of a significant exhibition of Aboriginal paintings hosted by the World Bank, New York. Foreword by Paul Keating, Prime Minister of Australia.
Publishing details: Melbourne : Aboriginal Gallery of Dreamings, 1992. Quarto, illustrated wrappers, pp. 56, illustrated.
Ref: 1000
Dwyer Ellaview full entry
Reference: DWYER, Ella (1887 - 1979); REEVE, Agnes (1896 - 1984)
Prints
roneo catalogue listing of 68 prints, being London Woodcuts by Agnes Reeve, Sandgrain etchings by Ella Dwyer, and Lino-cuts by George Perrottet. His bookplates are also mentioned. Scarce and ephemeral catalogue.
Publishing details: [S.l. : s.n., circa 1940]. Quarto, lettered wrappers, pp. [4],
Ref: 1009
Perrottet George view full entry
Reference: see DWYER, Ella (1887 - 1979); REEVE, Agnes (1896 - 1984)
Prints
roneo catalogue listing of 68 prints, being London Woodcuts by Agnes Reeve, Sandgrain etchings by Ella Dwyer, and Lino-cuts by George Perrottet. His bookplates are also mentioned. Scarce and ephemeral catalogue.
Publishing details: [S.l. : s.n., circa 1940]. Quarto, lettered wrappers, pp. [4],
Reeve Agnes (Australian?)view full entry
Reference: see DWYER, Ella (1887 - 1979); REEVE, Agnes (1896 - 1984)
Prints
roneo catalogue listing of 68 prints, being London Woodcuts by Agnes Reeve, Sandgrain etchings by Ella Dwyer, and Lino-cuts by George Perrottet. His bookplates are also mentioned. Scarce and ephemeral catalogue.
Publishing details: [S.l. : s.n., circa 1940]. Quarto, lettered wrappers, pp. [4],
Pugh Cliftonview full entry
Reference: Clifton Pugh exhibition at Georges Gallery.
Catalogue of an exhibition held 4-14 May, 1964
Publishing details: Melbourne, Vic. : Georges Gallery, 1964. Illustrated card, folded, catalogue of 33 works.
Ref: 1000
Strachan David 6 cataloguesview full entry
Reference: with Douglas Stewart Fine Books March 2020:
STRACHAN, David
An exhibition of oil paintings by David Strachan.
Perth : The Skinner Galleries, 1961. Single sheet, folded, catalogue of 38 works. A few stains. 

STRACHAN, David
Paintings by David Strachan.
Melbourne : Georgre Gallery, 1950. Single sheet, folded, tipped-in photographic portrait, catalogue of 25 works. A few stains and annotations. 

STRACHAN, David
Paintings by David Strachan.
Canberra : Arts Council of Australia – A.C.T. Division, 1963. Single sheet, folded, catalogue of 25 works.

STRACHAN, David
David Strachan.
Sydney : Macquarie Galleries, 1947. Single sheet, folded, catalogue of 32 works, lightly creased.
 
STRACHAN, David
David Strachan. April 28 to May 10 1954
Sydney : Macquarie Galleries, 1954. Single sheet, folded, catalogue of 26 works, lightly creased. 

STRACHAN, David
A survey by David Strachan 1955 – 1968
Brisbane : The Johnstone Gallery, 1968. Oblong quarto, illustrated cards, pp. 4, catalogue of 48 works. Foreword by Daniel Thomas.  


Ref: 1000
Gallagher Philview full entry
Reference: DLUX. Phil Gallagher Photography. Profusely illustrated in colour. Photographer Phil Gallagher began documenting his surfing excursions in 1999. His passion for surfing & photography have taken him to many of the worlds
best surf locations.
Publishing details: Syd. Pepita Wilson Design. 2008. Oblong Folio. Col.ill.bds. 152pp.
Ref: 1000
signwritingview full entry
Reference: BISHOP, John. (Ed). LETTERING FOR SIGNWRITERS, SHOWCARD WRITERS, DISPLAY ARTISTS. A Reference Book of Australian Signwriters' Styles. Fifth Edition. Profusely illustrated in black & white. Boards sl.rubbed else a very good copy. A guide to signwriting lettering fonts for signwriters as edited by John Bishop. Fine examples of signs, alphabets
& scrolls, with a guide to spacing, font shading & colouring.
Publishing details: Syd. Bishop Bros. Pty. Ltd. n.d. (1930s) Oblong Folio. Lettered bds. 96pp.
Ref: 1000
doll makingview full entry
Reference: see Fainges Marjory - Australian Dollmakers - A History
Publishing details: Kangaroo Press, Kenthurst N.S.W., 1986
144 pp.with index,colour and b/w.illus.
O'Connor Robertview full entry
Reference: winner of the Glover Prize 2020:
Artist: Robert O'Connor
Title: Somewhere in the midlands
Oil on canvas
107 x 91.5 cm
The winner of the Glover Prize 2020 has been announced!
Congratulations to Robert O'Connor whose artwork
'Somewhere in the midlands' has just been awarded this year's Glover Prize. 

Robert O'Connor is a Hobart based artist, who has been exhibiting since 2008 including solo shows at Galeria Metropolitana, Santiago Chile; Constance ARI, Hobart & Sawtooth ARI Launceston; Bett Gallery, Hobart. He has also had residencies at the Cite International des Arts, Paris and Shanxi, China.    
Klippel Robertview full entry
Reference:  
Robert Klippel - On Paper 1950-1963, from the Estate of Robert Klippel

‘Rare and beautiful works from the Estate of Robert Klippel. Incorporating coloured inks, watercolour, gouache and pencil, Klippel’s drawings sometimes relate to three-dimensional work that was being developed concurrently, and at other times, show him testing sculptural possibilities. The collages, which began in 1952, often reflect his fascination with machinery – pre-dating the sculptures which used reclaimed ‘junk metal’ from machines by almost a decade – while the inspiration he found in the natural world is seen in ink splatters that imitate the appearance and effect of splashing rain. And still other works on paper are more painterly, gestural and expressive. Whatever their approach, Klippel’s mastery of colour, composition and abstract form is always on full display." (Kirsty Grant, 2020)
 
 
Click here to view exhibition
or email us on annette@annettelarkin.com for a printed catalogue
 
Exhibition closes on Saturday 18 April 2020
Publishing details: Annette Larkin Fine Art, Suite 4, 8 Soudan Lane, Paddington, NSW, 2020.
Ref: 1000
Macqueen Maryview full entry
Reference: Noosa Regional Gallery's retrospective exhibition of Mary' Macque, 2020en’s work running 13 March - 26 April, 2020.

Charles Nodrum wrote the following essay to accompany a 2010 exhibition of works on paper by Macqueen at the gallery:
 
She studied, briefly, at Swinburne, then with William Dargie, and later with George Bell - arguably the most influential teacher in Australia in the mid-20th century. His method, grounded on formal principles, was alien to her central direction which, she soon discovered, was towards spontaneity and the expressive mark. This also accounts for her medium: pencil predominates (easily, at least in numbers; landscapes, animals and domesticity) with watercolour and charcoal following - aside from an extensive body of lithographs.
 
She lived, to outward appearances, a quiet life in one of Melbourne's more comfortable suburbs. Married in 1930, at eighteen, to an accountant markedly older than herself, her life centred around her family. East Kew is not Bohemia, and it was a life where church on Sundays took precedence over parties on Saturdays. She had four children who, as happens, absorbed much of her time, so it is no coincidence that the bulk of her work dates from her later years. It also accounts for two decades of tension between the competing demands of art and family: she describes herself as, at the time, “difficult to live with” and “[longing] for solitude and time away”; 1 and, in  general, as “a loner” 1 whose “nervousness with people was a handicap”. 2 By 1971, she was finally alone in the house and a new life emerged... “I was fifty-nine and free”. 1
 
Her subject matter remained focused from the outset: beginning, in the late 1940s, with inner suburban streets and parks, she quickly gravitated to the coast and the country - the Western District with its undulating hills, the Mornington Peninsula and Phillip Island, with their beaches, boats and harbours. Then, as ever, there was a practical issue: she did not drive, so relied on public transport, or friends; either way, she had to travel light, so a sketchbook and her “favourite 4B” 2 were both minimal and sufficient. From 1971 she started to travel - visiting Queensland, drawing the Glasshouse Mountains; Sydney, where the yachts on the harbour were the source of some her most spectacular watercolours; Perth, with more yachts on the Swan River and the awe inspiring emptiness of the Nullabor; England, to visit her son in Norfolk, with its peaceful cows that appear in both prints and drawings; North America, from San Francisco to Calgary; and Kenya, to see the wildlife and draw the elegant grazing animals, and their equally elegant feline predators.
 
Mary MacQueen had known these for years; she spent hours at the Melbourne Zoo and tirelessly sketched its inhabitants - as she did in London, Singapore and Sydney. Sketchbooks were filled with acutely sensitive drawings of lions, giraffes, monkeys and birds, as well as domestic cats and dogs, chooks and cows - all in a relentless search for the perfect line. The spontaneity she practiced had its downside: the failure rate was high with many (often good) drawings crossed out. And their seeming effortlessness is misleading: “… drawing perhaps for two hours at the zoo but producing nothing of consequence. Suddenly there is the feeling that line takes over, then maybe I have a good drawing, sometimes even several”. 1 But overall, they succeed. She repeatedly captured their underlying but essential quality: not just the cat, but its suppleness; the watchful tranquility of gorillas; the perkiness of bantams; the spindliness of giraffes; the energy of gazelles.
 
Whilst still being part of the Western tradition, which extols a deep respect for nature, there is also an east wind blowing through her work. Her eagles and pigeons are as far away from John Gould as it is possible to get, so from this angle, her work relates more easily to the oriental tradition with its effort to extract a visual (quasi Platonic) essence.  Such systems are reductive and achieve their ends not by recording each and every detail but by stripping off all the unessential. Alternatively, they don't depict, they evoke. What is drawn is not what we see but it is (paradoxically) what is there, what is real. Similarly, with her landscapes: the British watercolour tradition (I'm thinking Cozens) valued speed and spontaneity rather than depictive precision; here again she seeks an essential quality - the windiness of the harbor and the emptiness of the desert.
 
In the 1980s she took to collage. These were usually made from handmade papers (mostly Nepalese) often acquired on her travels – “… beautiful, extremely organic, grainy stuff”. 1 They are an exception in her oeuvre since they are clearly not spontaneous, instead, they were about carefully ordered forms and placement. At one level they require just the sort of approach she had rejected at George Bell's. However, in this case their origin can be tentatively found in two, quite disparate sources. Visiting Norfolk, she had been fascinated by the way the cows placed themselves across the fields: a subtle order seemed to emanate from an apparent randomness. Then there's Antoni Tapies, whose work she admired, and whose collages also exploit a paradox. We know he thinks long and deep about what goes where, but it often looks as though the collaged elements found their own way to their final place - as if by themselves. Mary MacQueen's collages sometimes maintain a figurative base and thus require a more formal presentation, and at other times are more loosely articulated and hence less structured. Yet either way she seems to bridge that gap between the randomness of spontaneity and an unanalysable sense of necessity.
 
To finish - two outside opinions. First, Alan McCulloch, whose critical eye for drawing was hard to please: "Her open line drawings of birds and animals spontaneously observed and recorded have won her a place in this genre second to none in contemporary Australian drawing". 3 And Mike Brown (whose pornography-based collages she had seen in 1986 – “I don’t like his subject matter” she sniffed, “but … he’s a marvelous collagist”) briskly homing in on the forthrightness of her work, its utter lack of fuss or dither: "The good thing about Mary is… she just does it”.
 
1  Patricia Grimshaw and Lynne Strachan, eds. The Half-Open Door, Hale and Iremonger, Sydney, 1982, pp 84, 85, 86, 90.
2  Mary Holyoake, foreword, The Drawings of Mary MacQueen, Pioneer Design Studio, Melbourne, 1986 (unpaginated)
3  Alan McCulloch, Encyclopedia of Australian Art, all editions post 1984.
 
Publishing details: Noosa Regional Gallery, 2020.
Ref: 1009
Macqueen Maryview full entry
Reference: Mary Macqueen - Charles Nodrum exhibition to coincide with Noosa Regional Gallery's retrospective exhibition of Mary' Macqueen’s work running 13 March - 26 April, 2020.

Charles Nodrum wrote the following essay to accompany a 2010 exhibition of works on paper by Macqueen at the gallery:
 
She studied, briefly, at Swinburne, then with William Dargie, and later with George Bell - arguably the most influential teacher in Australia in the mid-20th century. His method, grounded on formal principles, was alien to her central direction which, she soon discovered, was towards spontaneity and the expressive mark. This also accounts for her medium: pencil predominates (easily, at least in numbers; landscapes, animals and domesticity) with watercolour and charcoal following - aside from an extensive body of lithographs.
 
She lived, to outward appearances, a quiet life in one of Melbourne's more comfortable suburbs. Married in 1930, at eighteen, to an accountant markedly older than herself, her life centred around her family. East Kew is not Bohemia, and it was a life where church on Sundays took precedence over parties on Saturdays. She had four children who, as happens, absorbed much of her time, so it is no coincidence that the bulk of her work dates from her later years. It also accounts for two decades of tension between the competing demands of art and family: she describes herself as, at the time, “difficult to live with” and “[longing] for solitude and time away”; 1 and, in  general, as “a loner” 1 whose “nervousness with people was a handicap”. 2 By 1971, she was finally alone in the house and a new life emerged... “I was fifty-nine and free”. 1
 
Her subject matter remained focused from the outset: beginning, in the late 1940s, with inner suburban streets and parks, she quickly gravitated to the coast and the country - the Western District with its undulating hills, the Mornington Peninsula and Phillip Island, with their beaches, boats and harbours. Then, as ever, there was a practical issue: she did not drive, so relied on public transport, or friends; either way, she had to travel light, so a sketchbook and her “favourite 4B” 2 were both minimal and sufficient. From 1971 she started to travel - visiting Queensland, drawing the Glasshouse Mountains; Sydney, where the yachts on the harbour were the source of some her most spectacular watercolours; Perth, with more yachts on the Swan River and the awe inspiring emptiness of the Nullabor; England, to visit her son in Norfolk, with its peaceful cows that appear in both prints and drawings; North America, from San Francisco to Calgary; and Kenya, to see the wildlife and draw the elegant grazing animals, and their equally elegant feline predators.
 
Mary MacQueen had known these for years; she spent hours at the Melbourne Zoo and tirelessly sketched its inhabitants - as she did in London, Singapore and Sydney. Sketchbooks were filled with acutely sensitive drawings of lions, giraffes, monkeys and birds, as well as domestic cats and dogs, chooks and cows - all in a relentless search for the perfect line. The spontaneity she practiced had its downside: the failure rate was high with many (often good) drawings crossed out. And their seeming effortlessness is misleading: “… drawing perhaps for two hours at the zoo but producing nothing of consequence. Suddenly there is the feeling that line takes over, then maybe I have a good drawing, sometimes even several”. 1 But overall, they succeed. She repeatedly captured their underlying but essential quality: not just the cat, but its suppleness; the watchful tranquility of gorillas; the perkiness of bantams; the spindliness of giraffes; the energy of gazelles.
 
Whilst still being part of the Western tradition, which extols a deep respect for nature, there is also an east wind blowing through her work. Her eagles and pigeons are as far away from John Gould as it is possible to get, so from this angle, her work relates more easily to the oriental tradition with its effort to extract a visual (quasi Platonic) essence.  Such systems are reductive and achieve their ends not by recording each and every detail but by stripping off all the unessential. Alternatively, they don't depict, they evoke. What is drawn is not what we see but it is (paradoxically) what is there, what is real. Similarly, with her landscapes: the British watercolour tradition (I'm thinking Cozens) valued speed and spontaneity rather than depictive precision; here again she seeks an essential quality - the windiness of the harbor and the emptiness of the desert.
 
In the 1980s she took to collage. These were usually made from handmade papers (mostly Nepalese) often acquired on her travels – “… beautiful, extremely organic, grainy stuff”. 1 They are an exception in her oeuvre since they are clearly not spontaneous, instead, they were about carefully ordered forms and placement. At one level they require just the sort of approach she had rejected at George Bell's. However, in this case their origin can be tentatively found in two, quite disparate sources. Visiting Norfolk, she had been fascinated by the way the cows placed themselves across the fields: a subtle order seemed to emanate from an apparent randomness. Then there's Antoni Tapies, whose work she admired, and whose collages also exploit a paradox. We know he thinks long and deep about what goes where, but it often looks as though the collaged elements found their own way to their final place - as if by themselves. Mary MacQueen's collages sometimes maintain a figurative base and thus require a more formal presentation, and at other times are more loosely articulated and hence less structured. Yet either way she seems to bridge that gap between the randomness of spontaneity and an unanalysable sense of necessity.
 
To finish - two outside opinions. First, Alan McCulloch, whose critical eye for drawing was hard to please: "Her open line drawings of birds and animals spontaneously observed and recorded have won her a place in this genre second to none in contemporary Australian drawing". 3 And Mike Brown (whose pornography-based collages she had seen in 1986 – “I don’t like his subject matter” she sniffed, “but … he’s a marvelous collagist”) briskly homing in on the forthrightness of her work, its utter lack of fuss or dither: "The good thing about Mary is… she just does it”.
 
1  Patricia Grimshaw and Lynne Strachan, eds. The Half-Open Door, Hale and Iremonger, Sydney, 1982, pp 84, 85, 86, 90.
2  Mary Holyoake, foreword, The Drawings of Mary MacQueen, Pioneer Design Studio, Melbourne, 1986 (unpaginated)
3  Alan McCulloch, Encyclopedia of Australian Art, all editions post 1984.
 
Publishing details: Charles Nodrum Gallery, 2020.
Ref: 1009
Lungley Dorothyview full entry
Reference: Dorothy Lungley (1888-1956)
from Day Fine Art, March, 2020:
Deep Blue Sea c1930
Colour linocut
12 x 15 cm
Signed in the lower margin
Printmaker, younger sister of Edith A. Lungley , was making prints in a decorative Japanese manner from 1932. The National Gallery of Australia has her woodcut Nocturne c.1933. The AGSA also acquired her prints. One is illustrated in the South Australian Centenary Book  (Design and Art Australia Online).
Publishing details: Day Fine Art, March, 2020
Palmer Ethleenview full entry
Reference: see Day Fine Art, March, 2020:
Farrell's Shed. Newport, 1935
19 x 29.3 cm
Linocut
A colour linocut printed on Japanese tissue.
numbered, dated, titled and signed below image
Edition of 20
The old house of John Farrell, one of the earliest European farmers in the Newport area, where he settled by 1823.

Ethleen Palmer (1906- 1958)
Ethleen Palmer major contributor to the female print movement of the 1920s and 30s. Her contemporaries were Preston, Proctor, Spowers, Blackburn etc. Rather than imitating the style adopted by these iconic artists she created prints with a distinctly Japanese feel. Her ability to capture movement and nature in the Japanese style gave her the name “The Australian Hokusai”.
The Sydney Morning Herald in 1938 were so confident in her ability and talent that they called her “Australia’s leading Linocut artist” a big statement considering the other fantastic printmakers of the period.
An talented and often overlooked Australian artist.

Publishing details: Day Fine Art, March, 2020
Boyd Emma Minnieview full entry
Reference: see Day Fine Art, March, 2020:
Brighton Beach (In The Shallows) October 1879
Ink on paper
9 x 19 cm
Signed with monogram EMB and Dated 10/79 lower right
This drawing is possibly a study for a etching.
Provenance:
Boyd Family
Mornington Peninsula Regional Gallery 2004
 
Emma Minnie Boyd (1858- 1936)
BIO
Painter, was born at The Grange, Harkaway, near Berwick, Victoria, fourth child of William A.C. a’Beckett and his wife Emma, née Mills. Emma Minnie (known as Minnie) was a natural artist (her mother and her sisters, including Constance a’Beckett , all painted), brought up in a highly cultivated family that made much of its connection with the saintly twelfth-century bishop St Thomas a’Beckett but chose to forget that Minnie’s maternal grandfather, the wealthy brewer John Mills, had been a 'Van-Demonian’ convict. The financial inheritance was welcomed by the genteelly-poor a’Becketts but the convict heritage was obviously a sore point with the family, being totally ignored by Minnie’s novelist son, Martin, in his otherwise overly-scrupulous family history. After some art instruction at Madame Pfund’s school, and producing fine watercolours such as Interior with Figures, The Grange (1875) in her teens, Minnie studied at the National Gallery School (1876-77 and 1879-88) and is also said to have had private lessons with Louis Buvelot . Her career as an exhibitor began early. With the Victorian Academy of Arts she showed An Afternoon Nap in 1874, four watercolours ( Choosing a Book and four outdoor scenes) in 1875 and School Girls in 1882, then The Yarra at Heidelberg at the Victorian Jubilee Exhibition in 1884 and several watercolour drawings and a pair of painted terra-cotta plaques at the Colonial and Indian Exhibition in 1886—the year she married fellow artist Arthur Merric Boyd . Both Minnie and Arthur exhibited with the Australian Artists’ Association in 1887 and again in 1888 when it reorganised as the Victorian Artists’ Society (VAS). At the 1888-89 Melbourne Centennial International Exhibition, Minnie exhibited both oils and watercolours. After the birth of their first two children, the Boyds travelled to England with Minnie’s parents in 1890. In June Minnie’s father bought the old a’Beckett family estate, Penleigh; in 1891 Minnie and Arthur each exhibited at the Royal Academy; in 1892, the family set off on a European tour; in 1893, they found that several Melbourne banks had failed and part of the Mills’ fortune was lost. They all (including two more children) returned to Melbourne in December. The Boyds, whose allowance from the a’Becketts was now reduced, lived in Brighton and (from 1898) Sandringham, with Minnie giving painting lessons to supplement their income. They moved out of the suburbs in 1907, inheriting enough when Minnie’s mother died to buy a farm at Yarra Glen. Minnie continued to paint. Her work was included in the 1898 Exhibition of Australian Art at the Grafton Galleries, London, and she continued to show her work with the VAS for many years. Like many women artists of her generation, Minnie is remembered as the matriarch of a highly talented family rather than as an artist in her own right. Her work, from her early (sometimes pretty, sometimes astringent) domestic scenes to her later gentle landscapes, deserves greater attention. Apart from a few done in England (e.g. To the Workhouse 1891, NGV), her paintings give no hint of her own increasingly strict self-denial in the service of religion and charitable works. Emma Minnie Boyd died on 13 September 1936, back at Sandringham. Exhibition History: Miss a’Beckett’s Rock House and Campbell-street Bridge 1880 was exhibited in the Art Society of Tasmania’s Old Hobart exhibition of 1896. School Girls was shown at the Vic. Academy of Arts in 1882. At the Victorian Jubilee Exhibition (1884) she showed: 'Water Color Drawings – no.109 The Yarra at Heidelberg – Miss E.M. A’Beckett’. She was a student at National Gallery Design School, Melbourne in 1885-86 and 1889. In the Victoria Court at the 1886 Colonial and Indian Exhibition in London, the oil paintings included “A’Beckett, Miss Emma Minnie – 77 [sic] High Street, Prahran – one pair of terra-cotta plaques; Victorian Court – Water-colour Drawings – A’Beckett, Miss Emma Minnie – 79 [sic] High Street, Prahran – no.1 'Wattle Blossom, the Yarra, Heidelberg; no.2 'Homesick’; no.3 'A Study’.” Exhibited at Australian Artists Association winter exhibition 1887: no.37 'The Window Seat’. At the 1888-89 Melbourne Centennial International Exhibition (catalogued as both Mrs A. M. Boyd and Mrs E.M. Boyd) she won a Jury award in the Oil and Watercolour Painting section for On the Yarra, Kew (3rd order of merit), no.138 Victorian Artists’ Gallery. Her address was noted as Inkerman Street, St Kilda. A Mrs Boyd exhibited an oil painting in the Victorian Artists’ Gallery that year, no.101 A Lassie Yet .
Extract from Art and Design Australia Written by Callaway, Anita Andrea Hope 1995 updated:2020
Publishing details: Day Fine Art, March, 2020
Stephens Ethel Annaview full entry
Reference: see Day Fine Art, March, 2020:
A Spray Of Roses 1893
Oil on cedar Panel
61 x 19 cm
Signed and dated upper right
Provenance:
Exhibited at the 14th Annual Exhibition of the Art Society of NSW. 1893 This exhibition holds a great significance for Australia Art History as it was the first time Australians were able to publicly view paintings such as Tom Roberts ‘The Breakaway’ (Catalogue number 179) and Arthur Streeton’s ‘Fire On’ (Catalogue number 239). The Art gallery of NSW from this exhibition purchased Fire On. A Spray of Roses was catalogued as number 243 and described ‘a good bit of decorative painting’. The painting is on a cedar drapers board, and retains the original slip.
The species of rose in the composition is known as "Marie Van Houte' and was introduced in 1871. The exhibition was described in length in an article in the Sydney Illustrated news, Saturday September 2 1893.
(Research for this piece was undertaken by Integrity Resolutions Pty Ltd)
Ethel Anna Stephens works are represented at the Art Gallery of NSW State Library of NSW

Publishing details: Day Fine Art, March, 2020
McWhannell Isabel view full entry
Reference: see Day Fine Art, March, 2020:
Tia River, Walcha. NSW c1910
44.5 x 59.5 cm
Oil on canvas
Attributed to Isabel McWhannell. Unsigned.
Inscribed on verso. Tia River, Walcha. NSW. Isabel McWhannell

Isabel McWhannell was a very active landscape painter, exhibiting regularly between the periods of the early 1900s to 1915 when her health declined.  This landscape vista is distinct for McWhannell’s style of thin winding trees and her use of dappled light and shade from the tree branches and distant shadows in the hills.
Publishing details: Day Fine Art, March, 2020
Brendorah (Dore Hawthorne) view full entry
Reference: see Day Fine Art, March, 2020:
Punting on the Parramatta River
c1930
35.5 cm x 30.5 cm
Oil on canvas
The Hawthorne family lived close to Gladesville, it is likely that this painting was completed in one of the rivers or creeks in the area c1925-30 when Hawthorne was studying with Roland Wakelin.
A beautiful example of Australian modernism.
In 1931 Dorrit Black opened a gallery at 56 Margaret Street in Sydney to exhibit modernist Sydney painters. This painting was likely to have been exhibited here.
A review of the Gallery in the The Sun (Sunday 28th June 1931 | Page 35 | Moderns have own Gallery) is below:
“Moderns” Have Own Gallery
LOCAL devotees of the modern school of painting have found a champion of the most practical kind. A wee gallery where their work can be always on view for the benefit of visitors and others interested has been established by Miss Dorritt Black next door to her studio in 50 Margaret street. Private homes and artists studios have been their only “showground” up to date. The nucleus of Miss Black’s collection in the gallery at present is made up of the paintings of Mr. Roland Wakelin, Miss Grace Crowley, Mr. P.Weitzel, Miss Cossington Smith, Miss Enid Cambridge, and the craftwork of Miss Dora Hawthorn.
Publishing details: Day Fine Art, March, 2020
Hawthorne Dore (Brendorah view full entry
Reference: see Day Fine Art, March, 2020:
Punting on the Parramatta River
c1930
35.5 cm x 30.5 cm
Oil on canvas
The Hawthorne family lived close to Gladesville, it is likely that this painting was completed in one of the rivers or creeks in the area c1925-30 when Hawthorne was studying with Roland Wakelin.
A beautiful example of Australian modernism.
In 1931 Dorrit Black opened a gallery at 56 Margaret Street in Sydney to exhibit modernist Sydney painters. This painting was likely to have been exhibited here.
A review of the Gallery in the The Sun (Sunday 28th June 1931 | Page 35 | Moderns have own Gallery) is below:
“Moderns” Have Own Gallery
LOCAL devotees of the modern school of painting have found a champion of the most practical kind. A wee gallery where their work can be always on view for the benefit of visitors and others interested has been established by Miss Dorritt Black next door to her studio in 50 Margaret street. Private homes and artists studios have been their only “showground” up to date. The nucleus of Miss Black’s collection in the gallery at present is made up of the paintings of Mr. Roland Wakelin, Miss Grace Crowley, Mr. P.Weitzel, Miss Cossington Smith, Miss Enid Cambridge, and the craftwork of Miss Dora Hawthorn.
Publishing details: Day Fine Art, March, 2020
Jones Gabrielleview full entry
Reference: see Day Fine Art, March, 2020:
Travel Back
120 x 100 cm
Oil and synthetic polymer paint on canvas

Gabrielle Jones explores paint in the material, sensual as well as psychological sphere and the interaction between the internal and external world of the artist in contemporary life. Her work explores the relationships and tensions engendered by opposites: movement and stillness, isolation and engulfment, the tender and the strong, the organic and the constructed, abstraction and figuration, risk and control, the personal and the global -and the psychological state these opposites can engender when they come smack bang up against each other.
In doing so, she uses her physicality (which dictates preferred ground dimensions), and that of her materials, glorying in the tactility of surfaces and interwoven layers. Her process mines feelings, experiences, memory and a collection of stored images from life and travel, evincing rhythmic, expressionistic and sometimes sensuous images, often existing at the turning point where pure abstraction becomes figuration, and vice versa


 
<img src="https://images.squarespace-cdn.com/content/v1/5ccc16a2f8135a3129ad6904/1576371060537-5OJJ97WSHETY3BN302TT/ke17ZwdGBToddI8pDm48kPWl3W9jFxZEUHg_xpqi701Zw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZamWLI2zvYWH8K3-s_4yszcp2ryTI0HqTOaaUohrI8PI8doxiwifW6K8cio1JWZQhPhsiVxn1GyXF6PG-TsxoMUKMshLAGzx4R3EDFOm1kBS/Gabrielle+Jones+Portrait.+Day+Gallery+%281%29.jpg" alt="Gabrielle Jones Portrait. Day Gallery (1).jpg" />

VIEW ARTIST CV
 
Biography
Gabrielle Jones
An Australian abstract artist with an expansive exhibition history. In addition to over 18 solo exhibitions across three states in Australia and appointment as drawing instructor for the Sydney Biennale Events in 2012, Gabrielle has been awarded a number of art prizes and grants (most recently the CreateNSW Government Artist Grant), and has been short-listed for prestigious painting and drawing prizes across the country.
She has held two exhibitions at Grefti Cultural Projects in Italy; and three solo shows at NSW Regional Museums. Her work has been collected across public Australian institutions (Muswellbrook Regional Gallery, Bundanon Trust), as well as internationally by Zabon Construction Group, Shanghai China; Fundacion Valparaiso, Spain; and Art Scape Organisation, Toronto; and is held in private collections in London, New York, Italy, Spain, Canada, the Netherlands, New Zealand and Tahiti. Jones’s practice has seen her complete artist residencies abroad in Tahiti, Spain and Canada, as well as locally in Australia.
Her paintings have appeared in two juried publications in USA and UK in 2018.
Jones completed her Bachelor of Fine Arts with Distinction from the National Art School in 2003.
Publishing details: Day Fine Art, March, 2020
Kimpton Edward 1888-1965view full entry
Reference: see Australian & International Art, Davidson Auctions, March 22, 2020, lot 28:
KIMPTON, Edward (1888-1965)
Still Life with Apples & Pear, 1944.
Labels verso for The Victorian Artists Society,
& Barry's Art Gallery, Surfers Paradise, Qld.
Oil on Canvas Board
25x30cm
Fuller Florence Ada (1867–1946)view full entry
Reference: see Christies UK SALE 18232
Australian Art - Online, 12 - 19 March, 2020
LOT 2
Florence Ada Fuller (1867–1946)
The road to Simonstown from Muizenberg with Cecil Rhodes’s cottage in the foreground
Estimate: GBP 8,000 - GBP 10,000
(AUD 13,326.40 - AUD 16,658)
Born in South Africa, Fuller returned there from Australia to convalesce after a long illness in 1892, before moving on to work in England and France between 1894 and 1904. She met and painted a portrait of Cecil Rhodes in 1899 on a brief return visit to the Cape, and the present coastal landscape presumably dates to this year.
Post Lot Text
This lot has been imported from outside the EU for sale and placed under the Temporary Admission regime. Import VAT is payable (at 5%) on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on the invoice. Please see the Conditions of Sale for further information.
Loureiro Arthur José de Souza (1853-1932) view full entry
Reference: see Christies UK SALE 18232
Australian Art - Online, 12 - 19 March, 2020
lot 3
Arthur José de Souza Loureiro (1853-1932)
Two Friends
signed and dated ' - ARTHUR LOUREIRO - / - MELBOURNE - 1888 - ' (lower right)
oil on canvas
38 x 561⁄4in. (96.5 x 142.8cm.)
Please note this lot is the property of a private individual.
Provenance
Charles Raymond Staples, Melbourne, 1888, and thence to his son, Charles Staples, the sitter, and thence by descent to the present owner.
Kerry Stokes Collection - Larrakitj: view full entry
Reference: see Larrakitj: Kerry Stokes Collection. [’"The Kerry Stokes Collection is based in Perth, Western Australia. Indigenous art occupies an important place in the contemporary spectrum of the Kerry Stokes Collection. Starting in 2001 and continuing for a decade, the unique Larrakitj collection of 110 Yolngu memorial poles from north-east Arnhem Land forms a special part of the Collection."
Full contents
• Preface
• Introduction
• Maps
• Essays
• The works
• The artists.
 
Notes Project Coordinator: Anne Marie Brody in association with Buku-Larrnggay Mulka, Yirrkala Arts Centre, with words of art documentation by Howard Morphy. Landscale photography and artists' portraits by Peter Eve.
Includes bibliographical references.’]
Publishing details: West Perth, W.A. : Australian Capital Equity, 2011 
332 p. : ill. (chiefly col.), maps, col. ports. ; 31 cm. 
Shadows of Utopia view full entry
Reference: see Shadows of Utopia by Manfred Jurgensen, illustrated by Cynthia Breusch
Publishing details: UQP, 1994, 140pp, hc, dw
Blackburn Davidview full entry
Reference: David Blackburn and the Visionary Landscape Tradition by Sasha Grishin. Includes bibliographical references (page 112). Summaries and list of ill. also in French and German. Includes bibliography. ['Working within a Post Modernist context, Blackburn did not so much adopt a tradition, as adapt it to his own vision. For him the crucial factor remained the metaphysical transformation of the landscape into a metaphor which alluded to something beyond the ordinary and beyond the specific object. His work speaks of the need for art to be a spiritually intense experience, one with a quality of an internal harmony, a quietness and an ordering process. He made the deliberate decision that the neglected medium of the pastel had the qualities of fluidity and colour saturation through which he could best realise his vision, and proceeded to work exclusively in that medium for the next thirty years, except for rare excursions into collage. .. David Blackburn has achieved in his work an art which is so uniquely his own and is of such haunting beauty and spiritual power that it has to be viewed as a major accomplishment on the international art scene.' - Sasha Grishin]
Publishing details: The Hart Gallery, UK., 1994, Paperback, 120pp
Ref: 1000
Andy and Ozview full entry
Reference: Andy and Oz : parallel visions. Exhibition organised by the National Gallery of Australia, held at the Andy Warhol Museum, Pittsburgh, Pa., 20 Oct.-30 Dec. 2007.
Text by Deborah Hart.
Bibliography: p. 21.
Publishing details: National Gallery of Australia, [2007] 
24 p. : ill. (some col.), ports.
Ref: 1000
Warhol Andy and Australian artview full entry
Reference: see Andy and Oz : parallel visions. Exhibition organised by the National Gallery of Australia, held at the Andy Warhol Museum, Pittsburgh, Pa., 20 Oct.-30 Dec. 2007.
Text by Deborah Hart.
Bibliography: p. 21.
Publishing details: National Gallery of Australia, [2007] 
24 p. : ill. (some col.), ports.
Oldfield Alanview full entry
Reference: Lizard Island : the journey of Mary Watson / Suzanne Falkiner & Alan Oldfield. Illustrated account of Mary Watson's escape with her baby and a wounded Chinese workman after an attack by mainland Aborigines on her absent husband's Lizard Island station; travelling by sea for eight days in a cut-down ship's water tank before dying of thirst on an Island off Cape Flattery in Far North Queensland; early encounters between European explorers and Aborigines of Far North Queensland; recollection and stories of Aboriginal decendants of Lizard Island Aborigines; massacre of Aborigines at Cape Flattery.
Notes Includes index.
Publishing details: Allen & Unwin, 2000 
235 p. : ill. (some col.), maps. edition of 200?
Ref: 1000
Yeldham Joshview full entry
Reference: Joshua Yeldham : Hawkesbury River : death bird series.
Invited aboard his 'spirit vessel' to travel with him upriver, Joshua Yeldham takes us on an intimate journey along the Hawkesbury, into his inner world of prayers and secret offerings. As much a passage through time as in consciousness, this new work draws its energy from the fresh and vital connectivity of water.
Notes Catalogue of an exhibition held at the Scott Livesey Galleries, 24 Oct.-24 Nov. 2007.
Essay by Rosa Maria Falvo.
"Catalogue complied by Scott Livesey & Jessica Williams"--Page [66]

Publishing details: Scott Livesey Galleries, [2007] 
65 pages (some folded) : illustrations (chiefly colour) ; 23 cm 
Ref: 1000
Yeldham Joshview full entry
Reference: Hawkesbury River : Deerubbun 2006 Joshua Yeldham
Publishing details: Arthouse Gallery, 2006 
©2006 
1 volume (unpaged). : chiefly coloured illustrations
Ref: 1000
Sowersby Tonyview full entry
Reference: TONY SOWERSBY - THE POLITICAL LANDSCAPE - Portraits of Australia’s Political, Business and Cultural Leaders, 1998 – 2013. [’I have always been interested in making art about politics and society. A single image can convey criticism or sum up a political position in a way that can provide the viewer with a light bulb moment. It is also personally fulfilling. One of the first paintings featured in this book is one of John Howard and some of his ministers that I did for the Bald Archy Prize in 1998. It made me feel better and more optimistic. I had produced political art before but from that time on resolved to do it regularly. I’ve never liked going to meetings or been much of a joiner but creating these artworks and disseminating them is my form of activism.
The work I present to you in this book makes no attempt to be balanced. That is, not balanced in the way the ABC seems to be: forced to have on every environmental panel a climate change denier, at every discussion of the economy, a billionaire’s lickspittle and whenever politics is raised so is a representative of the right. These paintings and cartoons are unashamedly leftist, green and progressive in aspect.
In my opinion, satire and derision are weapons to be pointed only at the powerful. We are in an era of unrelenting spin and it is important to cut through. I believe the single visual image is the best way I can do that.
Tony Sowersby, 2013.’]
Publishing details: self published?
Ref: 1000
Campbell Robert Jnrview full entry
Reference: Robert Campbell Jnr : history painter / Robert Campbell Jnr ; Djon Mundine OAM, Dr Ian McLean. First published to mark the exhibition Robert Campbell Jnr: History painter, Artbank, 20 February - 23 May 2015.
Publishing details: Artbank, [2015] 
©2015 
87 pages : illustrations (some black and white)
Ref: 1000
Armstrong Bruceview full entry
Reference: Bruce Armstrong : an anthology of strange creatures / David Hurlston & Ted Gott. Exhibition catalogue: 26 August 2016 - 29 January 2017 
Publishing details: National Gallery of Victoria, 2016 
x, 65 pages : illustrations
Ref: 1000
Armstrong Bruceview full entry
Reference: Bruce Armstrong : now and then : works on paper 1981-2011 / edited by Evan Hughes.

Publishing details: Ray Hughes Gallery Publishing, 2011. 96pp
Ref: 1000
Stewart Noel Henryview full entry
Reference: see Douglas Stewart Fine Books, 2020:
‘A pair of Midshipman’s personal logbooks containing the writings and drawings of Royal Navy Junior Officer Henry Noel Stewart, dated January 1897 to August 1900. The main section relates to the deployment of the Royal Navy cruiser HMS Powerful on the China Station from January 1898 to July 1899.
Two volumes, folio (325 x 210 mm), Waterlow & Sons log books in half reversed calf, spines lettered “for the Use of Junior Officers Afloat”; [Volume I] Log Book for the use of Midshipmen, H.M.S. REPULSE – From 15 January 1897 to 14 July 1897, H.M.S. POWERFUL – From 15 July 1897 to 13 February 1899; 224 pages with daily manuscript entries and 44 tipped-in ink & watercolour sketches covering deployment in the Irish Sea, Atlantic Ocean and the Mediterranean by HMS Repulse and the Indian Ocean and South China Sea by HMS Powerful; in good condition, with six leaves missing, one leaf torn with small loss, headers cut from leaves of second and subsequent pages of each month, some stains on front and back covers, spine and corners bumped and rubbed, light soiling and toning throughout; [together with] [Volume II] Journal for the use of Midshipmen, H.M.S. POWERFUL – From 15 February 1899 to 20 July 1899, H.M.S. GRAFTON – From 21 July 1899 to 2 September 1899, H.M.S. MARS – From 4 September 1899 to 13 March 1900, H.M.S. MARTIN – From 14 March 1900 to 14 July 1900, H.M.S. MARS – From 15 July 1900 to 14 August 1900; 176 pages with daily manuscript entries and 36 tipped-in ink & watercolour sketches covering deployment in the South China Sea by HMS Powerful and the Irish Sea, Atlantic Ocean and Mediterranean by HMS Mars and HMS Martin; in near fine condition, with four leaves slightly torn with small losses, some stains on front and back covers, spine and corners bumped and rubbed, very light soiling and toning.
For diplomacy in the Far East, the period 1895-1905 was a particularly unstable and frequently volatile one, with several western powers, including England, France, Germany and the United States, as well as Japan and Russia, competing for influence and territory in East Asia. This resulted in the Sino-Japanese War (1894-95) and the Russo-Japanese War (1904-05). At the same time, growing resentment against foreigners in China exploded in the Boxer Rebellion in 1900, fought between Chinese militants and allied forces, which was soon followed by republican stirrings that would lead to the collapse of the imperial Qing dynasty in 1912.
HMS Powerful’s deployment on the China Station thus served an essential purpose of both defence and deterrent against unrest and aggression in the region. This also included the Philippines, where HMS Powerful was stationed for lengthy periods in September-October 1898 and March-June 1899 in support of the American Asiatic Squadron, which had won the decisive Battle of Manila Bay on 1 May 1898 against the Spanish Pacific Squadron.
Midshipman Stewart’s two journals contain 80 hand-drawn ink and watercolour illustrations of technical, nautical, topographical and historical interest, including rare, superbly drawn and highly detailed track charts and maps of Chifu, Nagasaki, Yokohama, Weihaiwei, Manila, Hong Kong and other locations. These contain topographical information which was up to date and of military and political relevance at the time.
HMS Powerful was the lead ship of two 1st class protected 14,400 ton cruisers built for the Royal Navy by Vickers Limited at their Barrow-in-Furness shipyard. She was launched on 24 July 1895 and commissioned on 8 June 1897 for service on the China Station.
HMS Repulse was a Royal Sovereign-class pre-dreadnought 14,380 ton battleship built for the Royal Navy at Pembroke Dockyard. She was launched on 27 February 1892 and completed on 21 April 1894. She was assigned to the Channel Fleet and participated in annual manoeuvres in the Irish Sea and Atlantic Ocean. Under command of Captain Ernest Rolfe, Repulse (like Powerful) was present at the Fleet Review at Spithead on 26 June 1897 for the Diamond Jubilee of Queen Victoria, and in July she again took part in the annual manoeuvres, this time off Blacksod Bay on the West Coast of Ireland, as documented and illustrated by midshipman Henry Noel Stewart in his journal. The Repulse was also Stewart’s first seagoing posting, as mentioned in a note signed by Captain Ernest Rolfe on the inside front cover of journal [Volume I].
The China Station was established in 1865 and had as its area of responsibility the coasts of China and its navigable rivers, the western part of the Pacific Ocean, and the waters around the Dutch East Indies. It usually consisted of several older light cruisers and destroyers, and the Chinese rivers were patrolled by a flotilla of suitable shallow-draught gunboats, referred to as “China gunboats”. The Commander-in-Chief, China was a senior officer position of the Royal Navy, in charge of the Navy’s vessels and shore establishments in China from 1865 to 1941. He thus directed a naval formation, which was generally known as the China Station. The formation had bases at Singapore, Hong Kong and at Liugong Island, northeast China (Wei Hai Wei station). A leased territory of the United Kingdom from 1898 until 1930, Wei Hai Wei included the walled capital city of Port Edward, the bay of Wei-hai-wei, Liu-kung Tao Island and a mainland area of coastline. Together with Lüshunkou (Port Arthur) it controlled the entrance to the Gulf of Zhili, and thus the seaward approaches to Beijing.
Admiral Sir Alexander Buller (1834-1903) was appointed Commander-in-Chief, China Station in 1895. He had to respond at this time to the Far Eastern Crisis of 1897/98 when the Russian Pacific Fleet was threatening to attack the Korean port of Chemulpo to back up Russia’s demands for a peacetime coaling station at Deer Island. Admiral Buller dispatched eight warships to Korea and the Russian forces promptly retreated.  The fact that the Japanese Government had also put three battleships and ten cruisers at his disposal also influenced the outcome.
On 18 February 1898 Admiral of the Fleet Sir Edward Hobart Seymour (1840-1929) became Commander-in-Chief, China Station, with the battleship HMS Centurion his flagship. Midshipman Stewart notes in his HMS Powerful logbook entry at Chifu on 29/4/98 “Vice Admiral Seymour K.C.B. came on board to inspect ship”. Following the outbreak of the Boxer Rebellion in June 1900, which threatened western missions in Beijing and elsewhere, Seymour assembled an armed force of 2,000 sailors and marines from western and Japanese warships in Tianjin. Following heavy fighting with losses and wounded on both sides Seymour’s forces managed to prevail.
HMS Powerful arrived in Hong Kong on her maiden voyage on 3 January 1898 and, until 17 September 1899, she was deployed throughout the region covered by the China Station, often in conjunction with other Royal Navy warships, including HMS Centurion, Victorious, Rattler, Hermione, Peacock, Plover, Undaunted, Grafton, Barfleur, Alacrity and others. She also cooperated with vessels of other navies, including the Japanese and American, such as USS Charleston, Baltimore, Olympia, Concord, and Petrel. (All of these ships are mentioned in the logbooks).
Leaving Hong Kong on 7 March 1898, HMS Powerful visited the following ports/stations:
Amoy 9-11/3/98; Nagasaki 17-18/3/98; Chifu* 22-23/3/98; Chemulpo* 26-27/3/98;
Chifu 29/3-6/6/98; Wei Hai Wei 7-11/6/98; Chemulpo 12/6/98; Yokohama 16-24/6/98;
Ferriѐres Islands [S.Korea] 29-30/6/98; Chemulpo 1/7/98; Wei Hai Wei 2-27/7/98;
Yokohama 30/7-6/8/98; Hong Kong 13/8-7/9/98; Manila 9/9-18/10/98; Hong Kong 23/10/98-2/1/99; Amoy* 4-11/1/99; Hong Kong 13/1-6/3/99; Manila 8/3-2/6/99; Hong Kong 4-13/6/99; Wei Hai Wei 18/6-5/7/99.
On 6/7/99 midshipman Stewart joined HMS Rattler at Wei Hai Wei to Wu-sung where he joined the RMS Empress of Japan on 8/7/99 for passage to Hong Kong, arriving there on 11/7/99. And on 21/7/99 he joined HMS Grafton at Hong Kong to return to England, arriving at Plymouth on 2/9/99.
HMS Powerful departed Hong Kong on 17 September 1899 and was diverted from the shorter route through the Suez Canal to round the southern tip of Africa in light of rising tensions between the British and the Boers in South Africa. She arrived at Simonstown on 13 October 1899, two days after the Second Boer War began.
Provenance:
Acquired at Whyte’s Auctions, Dublin, Ireland, 6 April 2019, sale 1173, lot 98, consigned by a private collector who had originally purchased the logbooks at Bonhams, London, Printed Books, Maps and Manuscripts, 24 June 2003, sale 10399, lot 177.

In an Australian Light: Photographs from Across the Countryview full entry
Reference: In an Australian Light: Photographs from Across the Country. Jo Turner (Edited by), Rebecca Allen (Introduction by). [’Australia is drenched in a light that is different from anywhere else in the world. A light so distinctive, we know it can only be of one place.

Imagined as a celebration of the particular beauty of Australian light, this generous publication roams the country, from rugged coastline to arid outback, to reveal how light shapes our wide, brown land. Wind-etched rocks, patterns in sand. Teal oceans. Surfers, slick in their wetsuits against the morning sun. A beach filled with people. A beach with no people. Rockpools. High-rise buildings against sand and sea. Golden sunsets over city skylines. Rays reaching through forest branches to frosted ground. Paddocks muted by mist, trees laden with luminous snow. The variation in the fall of light on our landscape seems limitless.

With an introduction by a galactic astrophysicist, In an Australian Light reminds us of the myriad ways we experience light in this vast and diverse land.’]

Publishing details: Thames and Hudson, 2019, 159 pages : colour illustrations
Mundy Godfrey Charlesview full entry
Reference: AN EXCURSION TO JERSEY, BY PROFESSORS GRUBDUST AND BUFFELSKOPF. [From Antipodean Books, Maps and Prints: ‘Amusing illustrated satire of an imaginary visit by two professors to the isle of Jersey, with only one copy located, at the British Library. The text and illustrations are by the author, who completed the work during his appointment as lieutenant-governor of Jersey. The whole workis lithographed including the text; complete with the 24 plates, lacking the title page, as is the BL copy.

Mundy was commissioned as a lieutenant in the British Army in 1821, serving in India. He was appointed Deputy Adjutant General of military forces in Australia in 1826, and is noted for the book, 'Our Antipodes: or, Residence and Rambles in the Australasian Colonies' which he illustrated with landscapes and scenes engraved from his own sketches. He was appointed Lt. Governor of Jersey in 1857 and died in office.

Restored into the original papered boards binding. Two previous owner signatures at the front end paper, L. B. A. Craven and an inscription "Edith Smith from Alice, Jan. 25th 1880". Oblong 4to, the 24 plates complete, lacking the title page, which is consistent with the British Library copy. Quarter red cloth and pictorial boards. Boards rubbed; edges of some plates ruffled. OCLC 561100014 records only one copy, at the British Library, copy is without a title page, as is this one (UIN: BLL01001526203). Good + overall. Item #25170’]
Publishing details: [London?]: 1860. Hardcover.
Ref: 1009
Graham-Montgomery Alice Anne (1847 - 1931) view full entry
Reference: see Lawsons, Fine Art - Private Collection, Queensland - Sale 8939A - Lot 5003, 1 April 2020: Lot 5003
Alice Anne Graham-Montgomery (1847 - 1931) (Duchess of Buckingham and Chandos and Countess Egerton of Tatton)
Sunset from Hill View, Moss Vale, NSW, 1893
oil on board
20 x 38.5cm
titled lower left. The painting is accompanied by a book "Glimpses of Four Continents" published in 1894 which describes the Duchess' visit to Australia and details her time at Hill View - which was at the time the Governor's country house. This painting would have ben executed sometime between Jan 4th and Jan 8th 1893. There is a hand written label verso. (see image). Estimate $2,000-3,000

Graham-Montgomery Alice Anne (1847 - 1931) view full entry
Reference: Alice Anne Graham-Montgomery (1847 - 1931) (Duchess of Buckingham and Chandos and Countess Egerton of Tatton)
‘Glimpses of Four Continents’. Book describes the Duchess' visit to Australia and details her time at Hill View - which was at the time the Governor's country house.
Publishing details: 1894
Ref: 1000
Strong Brett Livingstoneview full entry
Reference: see Ripley Auctions, April 6, 2020, Indianapolis, USA. Lot 282: Brett Livingstone Strong
(b.1954)
one of a kind open carved and cast studio cuff bracelet and ring set bearing the artist''s name
sterling silver
In 1972 he exhibited sculptures and paintings with sculptor Henry Moore at the Art Gallery of New South Wales. By 1977, after receiving a grant from the Australian Arts Council and Trade Commission to exhibit his work around the world, he arrived in California.

Over the years Strong has executed numerous portrait commissions in bronze and oils for personages from John Lennon to Dr. Armand Hammer. In the ''90''s his portrait of Michael Jackson was reputed to have received the largest amount paid to a living artist for a portrait; a record 2.1 million dollars.

In 1996, his first Museum exhibition was held at West Valley Art Museum (then known as Sun Cities Museum of Art) showing a cross-section of his work including the Lennon and Jackson portraits.George Palovich, curator, West Valley Art Museum

Livingstone Strong Brettview full entry
Reference: see Strong Brett Livingstone
Yandell Christian (1894 - 1954) see Waller Christianview full entry
Reference: Our cookery book by Flora Pell illustrated wrappers by Christian Yandell (later Christian Waller), From Douglas Stewart Fine Books 2020:
The rare eighth edition of Flora Pell’s cook book, with Christian Yandell’s striking and graphic cover image of a housewife (or domestic servant) bringing forth a steaming dish. The date of circa 1924 has been attributed by Wishart. An important image by Yandell.
A single copy of the eight edition appears on Trove (SLNSW) and none are recorded appearing for auction according to Rare Book Hub.
Reference : WISHART, Alison. ‘The Turbulent History of Our Cookery Book’: The Journal of Public Record Office Victoria, issue no. 9, 2010. https://prov.vic.gov.au/explore-collection/provenance-journal/provenance-2010/turbulent-history-our-cookery-book
 

Publishing details: Melbourne : The Specialty Press, circa 1924. Eighth edition. Octavo, p232
Ref: 1000
McGrath Raymondview full entry
Reference: With Douglas Stewart Fine Books 2020:
Watercolour, 200 x 290 mm, signed lower left. Framed.
Old label from previous frame pasted verso : ’44.a‘ Illustration to Erinore’, an Australian legend of the fairies. A similar version of this is in “Dreams of the Orient and Other Poems”. Circa 1921′.
A fine example of early twentieth century Australian symbolism, by a lesser-recognised Australian ‘fairy-artist’, an Arcadian scene of a free feminine spirit casting a spell over a pastoral residence at dusk as the moon rises. Probably painted to illustrate one of McGrath’s poems written in his late teen years, many of which were published in Sydney University’s Hermes magazine.
McGrath ” … studied painting at the Julian Ashton School, bookbinding with Walter Taylor, as well as executing his first etchings; at a later stage he studied modelling withRayner Hoff. This combination of literature and art was to become a hallmark of his graphic work. In 1921 he bound a collection of his poems, all elaborately scripted and illustrated which he titled Dreams of the Orient and Other Poems. It was in the Sydney University Magazine Hermes that many of these illustrated poems showing his romantic and whimsical nature were first published.” – BUTLER, Roger. Raymond McGrath Prints. Deutsher Galleries and National Library of Australia, 1979.
‘Raymond McGrath (1903-1977) trained at Sydney University (B. Arch 1926) …Raymond McGrath was intensively creative in a range of media outside of his architecture and each possessed celebrated skills in drawing, water-based media and print-making. Raymond McGrath studied painting and drawing in Sydney and was active in graphic design and private press book printing early in his career. …McGrath had begun his Sydney University training in the arts and became an acknowledged poet, editor and short-story writer before his graduation. During his undergraduate era, he also published a collection of verse, Seven Songs of Meadow Lane, that he personally illustrated, printed and bound. His private press work has not been fully studied. He continued to write poetry throughout his lifetime. He studied art with Julian Ashton, modelling with Rayner Hoff, bookbinding with Walter Taylor (c.1921-26) and made etchings from c.1921. Inspired by Tyrell’s 1923 exhibition of relief prints, he began doing linocuts in 1923 which were soon supplanted by wood engravings from 1924, notably The Seven Songs of Meadow Lane (J.T. Kirtley, Sydney 1924), written and illus. with b/w engravings by McGrath. In 1926 he travelled to England, studied at Westminster School of Art, London, and became an important modernist architect, writer and industrial designer in the UK. Official British war artist during WWII (mostly doing drawings of aircraft production). He died in Dublin on 23 December 1977. The biography by Donal O’Donovan, God’s Architect. A life of Raymond McGrath, Kilbride Books, 1995 is the most complete treatment of his life to date.’ – Design and Art Online Australia website, https://www.daao.org.au/bio/raymond-mcgrath/biography/
Original watercolours by McGrath are rarely offered for sale, with only three records appearing on the Australian Art Sales Digest (including this example) over the past 50 years.
Provenance :
Untraced exhibition (label to back of frame, item 44.a)
Leonard Joel, Australian British, New Zealand & European Historical Paintings etc., Melbourne, 08/04/1987, Lot No. 439
Australian Art Auctions, Australian & International Paintings, Sydney, 03/07/1995, Lot No. 94
Private collection, Melbourne
Bridget McDonnell Gallery, Melbourne (exhibition label verso)
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Scott Charles P (1878-1928) photographerview full entry
Reference: With Douglas Stewart Fine Books 2020:
Ten silver gelatin print photographs, most in format 150 x 200 mm (some smaller), laid down in pairs on rectos of five contemporary board mounts; versos with original owner’s name E. S. Chase inscribed in ink; the group comprises portraits of local Aboriginal people, including stockmen, women and children (one shows a group of three women married to Afghan cameleers who have adopted Islam), and donkey and camel trains (one showing an Afghan cameleer); one of the prints – a shot of a mother camel carrying its young offspring, has some scattered foxing, otherwise the prints are in very good condition, unfaded and with superb clarity.
The attribution of these important images to Adelaide photographer Charles P. Scott (1878-1928) is based on the striking close-up profile portrait of a woman wearing a polka-dot headscarf and smoking a pipe – a much-reproduced image and probably Scott’s most memorable photograph. Many of Scott’s images taken in and around Oodnadatta were published as captioned postcards in the early twentieth century. The Art Gallery of South Australia holds in its collection a large number of Charles P. Scott photographs taken in the Oodnadatta area on Allendale and Todmorden cattle stations in 1903-04, which were donated by George Bagot, a descendant of pastoralist Edward Meade (Ned) Bagot (1822–1886), in 1975.

Christmas and New Year greeting souvenir of Australasia 1891-1892view full entry
Reference: Christmas and New Year greeting souvenir of Australasia 1891-1892. O. Dobson (compiler)
Issued by the officers of the Post and Telegraph Departments. Containing illustrations by Walter Withers, Ernest Ferris, Fred. Kneebone ; photo-litho by John Clements. Melbourne and Sydney : lithographed wrappers (corners chipped), ribbon tie, pp. [40], lithographed illustrations.
A charming illustrated souvenir from the Post and Telegraph Departments, with vignette illustrations of the postal officers and stations across Australia. Includes scenes of Thursday Island, Bundaberg and Moreton in Queensland; Mt. Tasman, Dunedin, Nelson, Waikaia and Wellington in New Zealand; the Kew and Ballarat Post Offices in Victoria. Further views illustrate New South Wales, Tasmania and South Australia.
A number of pages illustrate the postal offices and regions of Central Australia, including the MacDonnell Ranges; the Telegraph Station at Alice Springs, a railway station on the Overland Line; Port Darwin, Heavitree Gap near Alice Springs, Port Emery, and the staff at Charlotte Waters (including Aboriginal subjects).
The illustrations are by Kneebone, Ferris and Withers – one of the founders of the Heidelberg School.
A contemporary review of this publication may be found in The Telegraph, Brisbane, 12 Dec 1891, p. 4:
Christmas Souvenir.
A copy of the Intercolonial Christmas and New Year greeting souvenir, compiled by and published for the post and telegraph services of Australasia, has been forwarded to this office by hon. secretary of the Queensland Intercolonial Souvenir Committee. The souvenir is a new departure from that which has been usually sent out by the department, but in previous years the different colonies have acted independently of each other. This is the first federal effort of the kind, West Australia being the only part of the group not represented, and the success has attended it must be highly gratifying to those who suggested this agreeable way of sending greetings. The souvenir consists of a little book, containing pictures of the Post and Telegraph Departments, and the principal officials in Australasia, with the exception previously stated. Interspersed between these representations are little bits of attractive scenery to be observed in various parts of Australia, and the whole forms a decidedly pleasing Christmas and New Year greeting. The souvenir was compiled by Mr. O. Dobson, and printed by the Gordon photo-litho Company, and from an artistic point of view must be regarded as extremely satisfactory. At the beginning of the book there are some verses by Mr. J. R. Carroll, E.T.O., Taralga, New South Wales, and at the end Mr. J. G. Reilly, of Charlton, has some lines under the heading, “From Dusk to Dawn”. 
With Douglas Stewart Fine Books 2020:


Publishing details: Post and Telegraph Departments. printed by the Gordon Photo-litho. Co., published for the Officers by Messrs. Tatchell, Garritty & Dobson, [1891]. Oblong octavo,
Ref: 1000
Withers Walter view full entry
Reference: Christmas and New Year greeting souvenir of Australasia 1891-1892. O. Dobson (compiler)
Issued by the officers of the Post and Telegraph Departments. Containing illustrations by Walter Withers, Ernest Ferris, Fred. Kneebone ; photo-litho by John Clements. Melbourne and Sydney : lithographed wrappers (corners chipped), ribbon tie, pp. [40], lithographed illustrations.
A charming illustrated souvenir from the Post and Telegraph Departments, with vignette illustrations of the postal officers and stations across Australia. Includes scenes of Thursday Island, Bundaberg and Moreton in Queensland; Mt. Tasman, Dunedin, Nelson, Waikaia and Wellington in New Zealand; the Kew and Ballarat Post Offices in Victoria. Further views illustrate New South Wales, Tasmania and South Australia.
A number of pages illustrate the postal offices and regions of Central Australia, including the MacDonnell Ranges; the Telegraph Station at Alice Springs, a railway station on the Overland Line; Port Darwin, Heavitree Gap near Alice Springs, Port Emery, and the staff at Charlotte Waters (including Aboriginal subjects).
The illustrations are by Kneebone, Ferris and Withers – one of the founders of the Heidelberg School.
A contemporary review of this publication may be found in The Telegraph, Brisbane, 12 Dec 1891, p. 4:
Christmas Souvenir.
A copy of the Intercolonial Christmas and New Year greeting souvenir, compiled by and published for the post and telegraph services of Australasia, has been forwarded to this office by hon. secretary of the Queensland Intercolonial Souvenir Committee. The souvenir is a new departure from that which has been usually sent out by the department, but in previous years the different colonies have acted independently of each other. This is the first federal effort of the kind, West Australia being the only part of the group not represented, and the success has attended it must be highly gratifying to those who suggested this agreeable way of sending greetings. The souvenir consists of a little book, containing pictures of the Post and Telegraph Departments, and the principal officials in Australasia, with the exception previously stated. Interspersed between these representations are little bits of attractive scenery to be observed in various parts of Australia, and the whole forms a decidedly pleasing Christmas and New Year greeting. The souvenir was compiled by Mr. O. Dobson, and printed by the Gordon photo-litho Company, and from an artistic point of view must be regarded as extremely satisfactory. At the beginning of the book there are some verses by Mr. J. R. Carroll, E.T.O., Taralga, New South Wales, and at the end Mr. J. G. Reilly, of Charlton, has some lines under the heading, “From Dusk to Dawn”. 
With Douglas Stewart Fine Books 2020:


Publishing details: Post and Telegraph Departments. printed by the Gordon Photo-litho. Co., published for the Officers by Messrs. Tatchell, Garritty & Dobson, [1891]. Oblong octavo,
Ferris Ernest view full entry
Reference: Christmas and New Year greeting souvenir of Australasia 1891-1892. O. Dobson (compiler)
Issued by the officers of the Post and Telegraph Departments. Containing illustrations by Walter Withers, Ernest Ferris, Fred. Kneebone ; photo-litho by John Clements. Melbourne and Sydney : lithographed wrappers (corners chipped), ribbon tie, pp. [40], lithographed illustrations.
A charming illustrated souvenir from the Post and Telegraph Departments, with vignette illustrations of the postal officers and stations across Australia. Includes scenes of Thursday Island, Bundaberg and Moreton in Queensland; Mt. Tasman, Dunedin, Nelson, Waikaia and Wellington in New Zealand; the Kew and Ballarat Post Offices in Victoria. Further views illustrate New South Wales, Tasmania and South Australia.
A number of pages illustrate the postal offices and regions of Central Australia, including the MacDonnell Ranges; the Telegraph Station at Alice Springs, a railway station on the Overland Line; Port Darwin, Heavitree Gap near Alice Springs, Port Emery, and the staff at Charlotte Waters (including Aboriginal subjects).
The illustrations are by Kneebone, Ferris and Withers – one of the founders of the Heidelberg School.
A contemporary review of this publication may be found in The Telegraph, Brisbane, 12 Dec 1891, p. 4:
Christmas Souvenir.
A copy of the Intercolonial Christmas and New Year greeting souvenir, compiled by and published for the post and telegraph services of Australasia, has been forwarded to this office by hon. secretary of the Queensland Intercolonial Souvenir Committee. The souvenir is a new departure from that which has been usually sent out by the department, but in previous years the different colonies have acted independently of each other. This is the first federal effort of the kind, West Australia being the only part of the group not represented, and the success has attended it must be highly gratifying to those who suggested this agreeable way of sending greetings. The souvenir consists of a little book, containing pictures of the Post and Telegraph Departments, and the principal officials in Australasia, with the exception previously stated. Interspersed between these representations are little bits of attractive scenery to be observed in various parts of Australia, and the whole forms a decidedly pleasing Christmas and New Year greeting. The souvenir was compiled by Mr. O. Dobson, and printed by the Gordon photo-litho Company, and from an artistic point of view must be regarded as extremely satisfactory. At the beginning of the book there are some verses by Mr. J. R. Carroll, E.T.O., Taralga, New South Wales, and at the end Mr. J. G. Reilly, of Charlton, has some lines under the heading, “From Dusk to Dawn”. 
With Douglas Stewart Fine Books 2020:


Publishing details: Post and Telegraph Departments. printed by the Gordon Photo-litho. Co., published for the Officers by Messrs. Tatchell, Garritty & Dobson, [1891]. Oblong octavo,
Kneebone Fredview full entry
Reference: Christmas and New Year greeting souvenir of Australasia 1891-1892. O. Dobson (compiler)
Issued by the officers of the Post and Telegraph Departments. Containing illustrations by Walter Withers, Ernest Ferris, Fred. Kneebone ; photo-litho by John Clements. Melbourne and Sydney : lithographed wrappers (corners chipped), ribbon tie, pp. [40], lithographed illustrations.
A charming illustrated souvenir from the Post and Telegraph Departments, with vignette illustrations of the postal officers and stations across Australia. Includes scenes of Thursday Island, Bundaberg and Moreton in Queensland; Mt. Tasman, Dunedin, Nelson, Waikaia and Wellington in New Zealand; the Kew and Ballarat Post Offices in Victoria. Further views illustrate New South Wales, Tasmania and South Australia.
A number of pages illustrate the postal offices and regions of Central Australia, including the MacDonnell Ranges; the Telegraph Station at Alice Springs, a railway station on the Overland Line; Port Darwin, Heavitree Gap near Alice Springs, Port Emery, and the staff at Charlotte Waters (including Aboriginal subjects).
The illustrations are by Kneebone, Ferris and Withers – one of the founders of the Heidelberg School.
A contemporary review of this publication may be found in The Telegraph, Brisbane, 12 Dec 1891, p. 4:
Christmas Souvenir.
A copy of the Intercolonial Christmas and New Year greeting souvenir, compiled by and published for the post and telegraph services of Australasia, has been forwarded to this office by hon. secretary of the Queensland Intercolonial Souvenir Committee. The souvenir is a new departure from that which has been usually sent out by the department, but in previous years the different colonies have acted independently of each other. This is the first federal effort of the kind, West Australia being the only part of the group not represented, and the success has attended it must be highly gratifying to those who suggested this agreeable way of sending greetings. The souvenir consists of a little book, containing pictures of the Post and Telegraph Departments, and the principal officials in Australasia, with the exception previously stated. Interspersed between these representations are little bits of attractive scenery to be observed in various parts of Australia, and the whole forms a decidedly pleasing Christmas and New Year greeting. The souvenir was compiled by Mr. O. Dobson, and printed by the Gordon photo-litho Company, and from an artistic point of view must be regarded as extremely satisfactory. At the beginning of the book there are some verses by Mr. J. R. Carroll, E.T.O., Taralga, New South Wales, and at the end Mr. J. G. Reilly, of Charlton, has some lines under the heading, “From Dusk to Dawn”. 
With Douglas Stewart Fine Books 2020:


Publishing details: Post and Telegraph Departments. printed by the Gordon Photo-litho. Co., published for the Officers by Messrs. Tatchell, Garritty & Dobson, [1891]. Oblong octavo,
Jerems Carol view full entry
Reference: Carol Jerrems : portrait of a decade, illustrated, exhibition catalogue of 26 works for sale.
“Carol Jerrems: Portrait of a Decade
Smith & Singer – formerly Sotheby’s Australia – is honoured to host the most comprehensive and fully documented commercial exhibition of Carol Jerrems’ work ever held.  Carol Jerrems: Portrait of a Decade will be presented in Smith & Singer’s Melbourne premises from 27 February – 20 March 2020, before touring to our Sydney galleries from 26 March – 17 April 2020.
The 26 works in the exhibition trace the extraordinary iconography of one of the most revered and rarest of all Australian photographers, who in her brief but intense career, produced gritty and luminous images that continue to challenge and inspire. Bookending a decade, these highly personal and purely figurative compositions include some of the most sensitive, revealing, forceful and compelling images of ‘Living in the Seventies’ in Australia. (1)
Geoffrey Smith, Chairman of Smith & Singer commented:  ‘We gratefully acknowledge the existing and continued research undertaken by numerous individuals and organisations on Carol Jerrems, and in particular the assistance of Helen Ennis, Natalie King, and Gael Newton AM, in preparing this catalogue.
Carol Jerrems: Portrait of a Decade honours and celebrates the 40th anniversary of Jerrems’ death on 21 February 1980, aged 30. We hope that this exhibition reaches new national and international audiences and ignites their interest and appreciation for this remarkable Australian artist.’
(1) This phrase, the title of Melbourne band Skyhooks’ debut album and hit single of 1974, was also the title of a touring exhibition of Jerrems’ work organised by the Australian National Gallery in 1990-1991” – Smith & Singer website https://www.smithandsinger.com.au/catalogue/AU0842
In November 2009 Sotheby’s Australia (now trading as Smith & Singer) set a world record for a Carol Jerrems photograph, Vale Street 1975 (AUD $122,000).

Publishing details: Melbourne : Smith & Singer, 2020. Quarto, illustrated wrappers, pp. 60.
Ref: 1000
Collective Visionview full entry
Reference: Collective Vision 130 Years Bendigo Art Gallery, by Tansy Curtin. No biographical information. Extensively illustrated.
[’Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.’]

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.
Bendigo Art Galleryview full entry
Reference: Collective Vision 130 Years. by Tansy Curtin, et al.
Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection. Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890.

Publishing details: Bendigo, Victoria : Bendigo Art Gallery, 2017. Quarto, illustrated wrappers, one corner bumped, pp. 182, illustrated.
Desert Linesview full entry
Reference: Desert Lines : Batik from Central Australia
Shonae Hobson, with essays by Judith Ryan AM, Jennifer Green, Julia Murray, Hannah Presley and Vicki Cullinan. Desert Lines celebrates the genesis of Indigenous women’s art practice across five central desert communities
Publishing details: Bendigo : Bendigo Art Gallery, 2019. Quarto, illustrated wrappers, pp. 144, illustrated.
Ref: 1000
batikview full entry
Reference: Desert Lines : Batik from Central Australia
Shonae Hobson, with essays by Judith Ryan AM, Jennifer Green, Julia Murray, Hannah Presley and Vicki Cullinan. Desert Lines celebrates the genesis of Indigenous women’s art practice across five central desert communities
Publishing details: Bendigo : Bendigo Art Gallery, 2019. Quarto, illustrated wrappers, pp. 144, illustrated.
Aboriginal artview full entry
Reference: Desert Lines : Batik from Central Australia
Shonae Hobson, with essays by Judith Ryan AM, Jennifer Green, Julia Murray, Hannah Presley and Vicki Cullinan. Desert Lines celebrates the genesis of Indigenous women’s art practice across five central desert communities
Publishing details: Bendigo : Bendigo Art Gallery, 2019. Quarto, illustrated wrappers, pp. 144, illustrated.
Art Deco architectureview full entry
Reference: see A spirit of progress. Art Deco architecture in Australia by VAN DAELE, Patrick van; LUMBY, Roy.
‘ensively illustrated. The deluxe edition, limited to 50 copies signed by the authors, specially bound in slipcase, accompanied by an original signed photograph by van Daele, limited to 50 copies. The photograph is a detail from the 1930s Kings Cinema n Sydney.
‘Until recently, scorned or ignored by many historians and commentators, Australia’s Art Deco architecture of the 1920s and 1930s endures as a unique record of its time and a mirror of the hopes and aspirations of Australians in the years between the two world wars. A Spirit of Progress: Art Deco Architecture in Australia provides a valuable insight into this significant period in Australia’s social, economic and artistic development. In his travels across Australia, photographer Patrick Van Daele has captured the wealth that is Australia’s Art Deco architecture. From the corporate splendours of tall office buildings to the engineering marvels of great dams and the domestic style of the home, the photographs mirror the achievement and the human aspect of the inter-war era in this country. They are illuminated by Roy Lumby’s authoritative text, which describes the history and development of this important style in Australia, and the fascinating times in which it appeared.’ – the publisher
Contents:
1. Art Deco Architecture in Australia
2. Office Buildings
3. Commercial Buildings
4. Public Buildings
5. Domestic Architecture
6. Industrial
7. Recreation
8. Cinemas.

Publishing details: Sydney : Craftaman House, 1997. Quarto, boards in dustjacket, pp. 228, extensively illustrated.
Spirit of progressview full entry
Reference: A spirit of progress. Art Deco architecture in Australia by VAN DAELE, Patrick van; LUMBY, Roy. [to be indexed]
‘ensively illustrated. The deluxe edition, limited to 50 copies signed by the authors, specially bound in slipcase, accompanied by an original signed photograph by van Daele, limited to 50 copies. The photograph is a detail from the 1930s Kings Cinema n Sydney.
‘Until recently, scorned or ignored by many historians and commentators, Australia’s Art Deco architecture of the 1920s and 1930s endures as a unique record of its time and a mirror of the hopes and aspirations of Australians in the years between the two world wars. A Spirit of Progress: Art Deco Architecture in Australia provides a valuable insight into this significant period in Australia’s social, economic and artistic development. In his travels across Australia, photographer Patrick Van Daele has captured the wealth that is Australia’s Art Deco architecture. From the corporate splendours of tall office buildings to the engineering marvels of great dams and the domestic style of the home, the photographs mirror the achievement and the human aspect of the inter-war era in this country. They are illuminated by Roy Lumby’s authoritative text, which describes the history and development of this important style in Australia, and the fascinating times in which it appeared.’ – the publisher
Contents:
1. Art Deco Architecture in Australia
2. Office Buildings
3. Commercial Buildings
4. Public Buildings
5. Domestic Architecture
6. Industrial
7. Recreation
8. Cinemas.

Publishing details: Sydney : Craftaman House, 1997. Quarto, boards in dustjacket, pp. 228, extensively illustrated.
Ref: 1000
Marawili Nongirrnaview full entry
Reference: Nongirrna Marawili : from my heart and mind. Edited by Cara Pinchbeck with Djambawa Marawili, Kade McDonald and Henry F Skerritt. Noŋgirrŋa Marawili is one of the most distinctive Aboriginal artists working today. From her home in Yirrkala, Marawili has revolutionised the art of north‐eastern Arnhem Land
Publishing details: Sydney, NSW : Art Gallery of New South Wales, 2018. Quarto, illustrated wrappers, pp. 128, illustrated.
Ref: 1000
Olsen Johnview full entry
Reference: John Olsen. Danimarca / Denmark : Biennale di Venezia, 1995.
The Danish representation at the Venice Biennale, the same year Bill Henson represented Australia.
‘John Olsen (1938-2019) is trained as a house painter. In 1959 he apprenticed to Den Kongelige Porcelænsfabrik, where during his years of apprenticeship he was entrusted with increasingly demanding assignments – he painted among others bird and animal motifs onto the factory’s dinner sets. In 1960 he was admitted to Kunstakademiets Billedhuggerskole (School of Sculpture of the Royal Danish Academy of Fine Arts) in Copenhagen. From 1965 he also attended courses at Grafisk Skole (School of Graphic Arts).
Living and working in close harmony with nature, John Olsen draws on nature for his work. Here he gets inspiration, motifs and materials. He often takes up unimpressive details that are easily overlooked, but which in his pictures are transformed into structures with a beauty all of their own. In his graphic works these motifs may be close-up studies of rocks in Iceland or the Faroe Islands, flocks of birds in the water, or studies of living and dead birds and animals. In paintings and photographs close-up studies of e.g. birds or snow-covered grass.
Nature also concretely supplies materials for John Olsen’s works. He is an inveterate collector of dried carcasses, strange knotty branches, animal skulls and bones, stuffed birds and bird’s eggs. The litter of modern civilisation from the rubbish dump, objects found in the jumble of the flea market and medical preparations in spirits are gathered and used as raw material for John Olsen’s artistic activities.
All of these finds are put together in glass cases reminding of the cabinets of curiosities of former times. In these cases of surprise and cabinets of wonder, difficult to embrace for their throng of objects, new surprising wholes and meanings are created. Colour and texture are juxtaposed thereby calling the attention of the spectator to the beauty of decay.
In John Olsen’s pictures of the decay and destructiveness of nature, death and weakness become present. The pictures do not only, though, focus on the frightful and sinister aspects of death. Death and decay also hold a sort of beauty. Just as death in nature is a precondition of the continuance of life, John Olsen arouses the dead objects and turns them into art.
In 1995 John Olsen represented Denmark at the Biennale in Venice, where he exhibited the large sculpture ”Resonans” (“Resonance”) – inspired by an armadillo shell, which can be seen in the Cabinet of Wonder. A bronze copy of ”Resonans” is exhibited in the museum garden. Furthermore a range of the artist’s painted tiles can be seen in the town hall of Holstebro.’ – Holstebro Kunstmuseum website http://www.holstebrokunstmuseum.dk/en/collection/contemporary-art–tradition-bound—nature-inspired/john-olsen.aspx
from Douglas Stewar Fine Books, 2020.

Publishing details: [Copenhagen] : Committee for International Art Exhibitions, Ministry for Cultural Affairs and Communications, 1995. Quarto, illustrated wrappers, pp. 104, illustrated. Loose catalogue enclosed.
Ref: 1000
Desartview full entry
Reference: Desart : Aboriginal art and craft centres of central Australia. Alice Springs, Northern Territory
Catalogue and directory of twelve Aboriginal art and craft centres in Central Australia; all are owned by the producers and represent 1500 artists; includes description of each centre and style and range of art available.[to be indexed]

Publishing details: Desart, 1993. Quarto, illustrated wrappers, pp. 45, illustrated.
Ref: 1009
Aboriginal artview full entry
Reference: see Desart : Aboriginal art and craft centres of central Australia. Alice Springs, Northern Territory
Catalogue and directory of twelve Aboriginal art and craft centres in Central Australia; all are owned by the producers and represent 1500 artists; includes description of each centre and style and range of art available.

Publishing details: Desart, 1993. Quarto, illustrated wrappers (crease to lower wrapper), pp. 45, illustrated.
Hermannsburg pottersview full entry
Reference: Hermannsburg potters : lyate nwerne urrkngele mpareme = (now we are working with clay) by Margaret K. West et al.
Catalogue for exhibition; essays cover history of pottery at Hermannsburg; development of the Hermannsburg potters; works in exhibition include pots and ceramic tiles; biographies of artists.
Publishing details: Darwin, N.T. : Museum and Art Gallery of the Northern Territory, 1996. Quarto, illustrated wrappers, pp. 36, illustrated.
Ref: 1000
Aboriginal artview full entry
Reference: see Hermannsburg potters : lyate nwerne urrkngele mpareme = (now we are working with clay) by Margaret K. West et al.
Catalogue for exhibition; essays cover history of pottery at Hermannsburg; development of the Hermannsburg potters; works in exhibition include pots and ceramic tiles; biographies of artists.
Publishing details: Darwin, N.T. : Museum and Art Gallery of the Northern Territory, 1996. Quarto, illustrated wrappers, pp. 36, illustrated.
La peinture des aborigènes d’Australie
view full entry
Reference: La peinture des aborigènes d’Australie

Catalogue of the 1993 exhibition of Aboriginal paintings and sculptures (from Arnhem Land and the Central and Western Desert) at the Musée des Arts d’Afrique et d’Océanie in Paris.

Publishing details: Marseille : Editions Parenthèses ; Paris : Réunion des musées nationaux, [1993]. Small quarto (240 x 165 mm), pictorial stiff wrappers, pp 93, illustrated in colour; includes bibliography; text in French.
Ref: 1000
Aboriginal artview full entry
Reference: see La peinture des aborigènes d’Australie

Catalogue of the 1993 exhibition of Aboriginal paintings and sculptures (from Arnhem Land and the Central and Western Desert) at the Musée des Arts d’Afrique et d’Océanie in Paris.

Publishing details: Marseille : Editions Parenthèses ; Paris : Réunion des musées nationaux, [1993]. Small quarto (240 x 165 mm), pictorial stiff wrappers, pp 93, illustrated in colour; includes bibliography; text in French.
Telstra presents the 18th National Aboriginal & Torres Strait Islander Art Awardview full entry
Reference: Telstra presents the 18th National Aboriginal & Torres Strait Islander Art Award

Publishing details: Darwin : Museum and Art Gallery of the Northern Territory, 2001. Quarto, illustrated wrappers (laminate lifting), pp. 92, illustrated.
Ref: 1000
Aboriginal artview full entry
Reference: see Telstra presents the 18th National Aboriginal & Torres Strait Islander Art Award

Publishing details: Darwin : Museum and Art Gallery of the Northern Territory, 2001. Quarto, illustrated wrappers (laminate lifting), pp. 92, illustrated.
Kngwarreye Emily Kame
view full entry
Reference: Emily / Papunya. Exhibition 4-21 March 2020. High Line Nine, Chelsea, New York. Melbourne : D’Lan Contemporary, 2020. Octavo, illustrated wrappers, pp. 52, illustrated. An exhibition catalogue.
Publishing details: New York 2020
[Title from wraparound banner containing two catalogues]. Emily. Exhibition 4-21 March 2020. High Line Nine, Chelsea, New York. Melbourne : D’Lan Contemporary, 2020. Octavo, illustrated wrappers, pp. 48, illustrated.
Ref: 1000
Papunyaview full entry
Reference: see Emily / Papunya. Exhibition 4-21 March 2020. High Line Nine, Chelsea, New York. Melbourne : D’Lan Contemporary, 2020. Octavo, illustrated wrappers, pp. 52, illustrated. An exhibition catalogue.
Publishing details: New York 2020
[Title from wraparound banner containing two catalogues]. Emily. Exhibition 4-21 March 2020. High Line Nine, Chelsea, New York. Melbourne : D’Lan Contemporary, 2020. Octavo, illustrated wrappers, pp. 48, illustrated.
Aboriginal artview full entry
Reference: see Emily / Papunya. Exhibition 4-21 March 2020. High Line Nine, Chelsea, New York. Melbourne : D’Lan Contemporary, 2020. Octavo, illustrated wrappers, pp. 52, illustrated. An exhibition catalogue.
Publishing details: New York 2020
[Title from wraparound banner containing two catalogues]. Emily. Exhibition 4-21 March 2020. High Line Nine, Chelsea, New York. Melbourne : D’Lan Contemporary, 2020. Octavo, illustrated wrappers, pp. 48, illustrated.
Aboriginal artview full entry
Reference: Gooch’s Utopia : collected works from the Central Desert
/ curated by Fiona Salmon ; essays, Philip Batty, Christopher Hodges, Christine Nicholls. Catalogue to accompany an exhibition of Central Desert works from the collections of Rodney Gooch.
Publishing details: Adelaide : Flinders University, 2008. Quarto (270 x 215 mm), pictorial stiff wrappers, 93 pp, colour illustrations, maps
Ref: 1000
Gooch collection of Aboriginal artview full entry
Reference: see Gooch’s Utopia : collected works from the Central Desert
/ curated by Fiona Salmon ; essays, Philip Batty, Christopher Hodges, Christine Nicholls. Catalogue to accompany an exhibition of Central Desert works from the collections of Rodney Gooch.
Publishing details: Adelaide : Flinders University, 2008. Quarto (270 x 215 mm), pictorial stiff wrappers, 93 pp, colour illustrations, maps
Aboriginal artview full entry
Reference: see [ARNHEM LAND BARK PAINTINGS] Rindenmalereien aus Australien. Kunstgewerbemuseum Zürich. 11. Januar bis 2. Februar 1958.with b/w photographic illustrations; introductory notes by Herbert Read and Charles Mountford; text in German; a very good copy. Scarce catalogue published in conjunction with a touring exhibition staged at the Kunstgewerbemuseum Zürich in 1958.
Publishing details:
Zürich : Kunstgewerbemuseum, 1958. Small oblong quarto (200 x 220 mm), pictorial wrappers, pp [12],
ARNHEM LAND BARK PAINTINGSview full entry
Reference: see [ARNHEM LAND BARK PAINTINGS] Rindenmalereien aus Australien. Kunstgewerbemuseum Zürich. 11. Januar bis 2. Februar 1958.with b/w photographic illustrations; introductory notes by Herbert Read and Charles Mountford; text in German; a very good copy. Scarce catalogue published in conjunction with a touring exhibition staged at the Kunstgewerbemuseum Zürich in 1958.
Publishing details:
Zürich : Kunstgewerbemuseum, 1958. Small oblong quarto (200 x 220 mm), pictorial wrappers, pp [12],
Mountford Charles view full entry
Reference: [ARNHEM LAND BARK PAINTINGS] Rindenmalereien aus Australien. Kunstgewerbemuseum Zürich. 11. Januar bis 2. Februar 1958.with b/w photographic illustrations; introductory notes by Herbert Read and Charles Mountford; text in German; a very good copy. Scarce catalogue published in conjunction with a touring exhibition staged at the Kunstgewerbemuseum Zürich in 1958.
Publishing details:
Zürich : Kunstgewerbemuseum, 1958. Small oblong quarto (200 x 220 mm), pictorial wrappers, pp [12],
Ref: 1000
McCrae Hughview full entry
Reference: Story Book Only by Hugh McCrae
Publishing details: Sydney Angus & Robertson 1947. Cloth, dustwrapper. Publisher's slipcase.
Ref: 1000
Cooke Albert Charlesview full entry
Reference: with Peter Walker Fine Art, 2020:
Albert C. Cooke (Aust 1836 - 1902)
Pulpit Rock, Cape Schank, Vic., circa 1870
23 x 34 cm
Watercolour
*An original drawing for the engraving that appeared in the Illustrated Australian News,
Jan 31, 1870. Further research available.
Ferries Jamesview full entry
Reference: with Peter Walker Fine Art, 2020:
James Ferries (Aust. 1875-1951)
Morning Flinders Rangers
Oil on canvas
31 x 45.5cm
Beauchamp Robert Proctor (1819-1889) view full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:

6. An oil portrait on tin of William Penn Beauchamp, Tasmania, unsigned, undated.
It was C19th practice to clothe both boys and girls in a dress until a certain age. Boys were “breeched” at about 7 years old, but this varied with class and the individual.
Dimensions: 44.5 x 34 cm.
Born in New Zealand, William Beauchamp (1857-1926) was the eldest son of an adventurous and artistic father, Robert Proctor Beauchamp (1819-1889) of Langley Park, Norfolk, England, and from 1862 of Langley, at Rosevears on the East Tamar River, northwest of Launceston. Prior to establishing his house and orchard there Robert had travelled between England, New Zealand and Victoria, earning a living variously as painter, pastoralist and orchardist. Once settled at Rosevears he exhibited his paintings – landscapes in watercolour, some oils, and pencil drawings – in Melbourne, Launceston and Otago NZ.
William Beauchamp travelled twice as a child with his parents to England, but lived most of his life in Tasmania, at Derby, then Zeehan, and from about 1914 at Wynyard. In April 1895 he married Margaret Ann McLeod Cunningham at Derby. Moving to Zeehan, William established his business as a butcher and advertised widely, and on his move to Wyndham did
6
likewise. In 1918 a fire broke out at night time in his smoke-house, but luckily was seen and soon extinguished by passers-by before it could spread to adjacent businesses. He retired in 1921, and his popularity among his fellow townsfolk when he died in 1926 at age 69 was marked by the large number present to pay their last tribute of respect.
Although the clothes William is shown wearing appear anomalous, it was a custom in the Western world for some centuries, up until the late 19th or early 20th centuries, for boy and girl children to be dressed alike. But at a variable age (from perhaps 2 to around 10 years old), a boy would be “breeched”, and then wear breeches or pants. It was an important rite of passage at the time.
This interesting image, and the challenges of researching it has prompted the editor of Australiana to consider publishing a more detailed version of this history with useful information and research hints for using online sources.
All reports will be available to members via the website: https://www.australiana.org.au or else by email link.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Hardy Brothersview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
12. Bronze medal of the Agricultural Society of NSW, 1878, by Hardy Brothers, designed by Arthur James Stopps (c1832-1931). Diameter - 89 mm.
Obverse inscription: AGRICULTURAL SOCIETY OF NEW SOUTH WALES / HARDY BROTHERS LONDON & SYDNEY
Reverse inscription: PRACTICE WITH SCIENCE and recipient’s details engraved.
The first prize medal won by the optician Louis Malcolm Keyzor for his spectacles and eyeglasses. Keyzor had trained in London, where he apparently had many family connections in the optical and jewellery trades. Arriving in Sydney in 1877 he was quick to establish himself, firstly in George Street, then a little later in Hunter Street. Advertising as The Only Optician, he took orders for the wide range of goods he imported, as well as offering to make instruments such as theodolites and microscopes to order. Keyzor mounted magic lantern shows and consulted in country towns, but this was not enough to maintain his business, and shortly after moving into Hunter Street in early 1879 he was bankrupt. This was attributed to losses in business, dullness of trade, and depreciation in the value of goods. The Insolvency Court found that his affairs had been precarious for six to twelve months
Intermittent business after his insolvency and a messy divorce saw him incarcerated for six months in 1887 for contempt of court, when he failed to pay the £30 and costs awarded against him. Thereafter, even up to 1929 he seems to have eked out a living as a somewhat itinerant optician, although early in 1900, again in a court case, presumably the same Louis Malcolm Keyzor was shown to have been living, at least for a few months, in a hut at Central Wyalong.
Arthur Stopps was born in Devonshire, showed artistic promise from an early age, and became a pupil of the artist and illustrator William Spreatt. Coming to Sydney in 1863, he built a home there at Hunters Hill and gained employment as a draughtsman in the Department of the Surveyor-General, headed by R D FitzGerald. With his experience as a lithographer Stopps was able to contribute his skills to illustrating FitzGerald’s work Australian Orchids, published in 1875, a book which gained the author a gold medal at the Paris Exhibition of 1878. Following his retirement after 45 years of service Stopps was struck by loss of sight when in his early nineties, and died in his 99th year.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Stopps Arthur James (c1832-1931)view full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
12. Bronze medal of the Agricultural Society of NSW, 1878, by Hardy Brothers, designed by Arthur James Stopps (c1832-1931). Diameter - 89 mm.
Obverse inscription: AGRICULTURAL SOCIETY OF NEW SOUTH WALES / HARDY BROTHERS LONDON & SYDNEY
Reverse inscription: PRACTICE WITH SCIENCE and recipient’s details engraved.
The first prize medal won by the optician Louis Malcolm Keyzor for his spectacles and eyeglasses. Keyzor had trained in London, where he apparently had many family connections in the optical and jewellery trades. Arriving in Sydney in 1877 he was quick to establish himself, firstly in George Street, then a little later in Hunter Street. Advertising as The Only Optician, he took orders for the wide range of goods he imported, as well as offering to make instruments such as theodolites and microscopes to order. Keyzor mounted magic lantern shows and consulted in country towns, but this was not enough to maintain his business, and shortly after moving into Hunter Street in early 1879 he was bankrupt. This was attributed to losses in business, dullness of trade, and depreciation in the value of goods. The Insolvency Court found that his affairs had been precarious for six to twelve months
Intermittent business after his insolvency and a messy divorce saw him incarcerated for six months in 1887 for contempt of court, when he failed to pay the £30 and costs awarded against him. Thereafter, even up to 1929 he seems to have eked out a living as a somewhat itinerant optician, although early in 1900, again in a court case, presumably the same Louis Malcolm Keyzor was shown to have been living, at least for a few months, in a hut at Central Wyalong.
Arthur Stopps was born in Devonshire, showed artistic promise from an early age, and became a pupil of the artist and illustrator William Spreatt. Coming to Sydney in 1863, he built a home there at Hunters Hill and gained employment as a draughtsman in the Department of the Surveyor-General, headed by R D FitzGerald. With his experience as a lithographer Stopps was able to contribute his skills to illustrating FitzGerald’s work Australian Orchids, published in 1875, a book which gained the author a gold medal at the Paris Exhibition of 1878. Following his retirement after 45 years of service Stopps was struck by loss of sight when in his early nineties, and died in his 99th year.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Studio Annaview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
Studio Anna was established around 1954 by Karel Jungvirt (1927-2000) and his wife Toni [nee Coles], first working briefly at Neutral Bay, then Sheppard Street Marrickville, where it remained until closed. In the beginning they exhibited displays at Ceramic Art and Fine Ware Association exhibitions and their business thrived, at one time employing thirty people. The firm focused on slip cast ceramics decorated with local scenes and Aboriginal themes that appealed to both tourists and locals. When the business closed in 1999 Jungvirt returned to his place of birth, Czechoslovakia, a country that he had left in 1951 to come to Australia, and died there the following year. Examples of Studio Anna wares that have paper labels were created towards the end of the business.
The bowl’s subject: A Macassan prau that came from Makassar in southern Sulawesi, Indonesia, to the north coast of Australia to harvest trepang. Today archaeologists believe the Macassans first arrived in the 1500s. Their praus could carry a crew of thirty and it has been estimated that some 1,000 Macassans arrived each year. The trade continued to dwindle toward the end of the 19th century, due to the imposition of customs duties and licence fees and probably compounded by overfishing. In 1907 the last fleet arrived in Australia, due to the White Australia policy.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Anna Studio see Studio Annaview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:

Studio Anna was established around 1954 by Karel Jungvirt (1927-2000) and his wife Toni [nee Coles], first working briefly at Neutral Bay, then Sheppard Street Marrickville, where it remained until closed. In the beginning they exhibited displays at Ceramic Art and Fine Ware Association exhibitions and their business thrived, at one time employing thirty people. The firm focused on slip cast ceramics decorated with local scenes and Aboriginal themes that appealed to both tourists and locals. When the business closed in 1999 Jungvirt returned to his place of birth, Czechoslovakia, a country that he had left in 1951 to come to Australia, and died there the following year. Examples of Studio Anna wares that have paper labels were created towards the end of the business.
The bowl’s subject: A Macassan prau that came from Makassar in southern Sulawesi, Indonesia, to the north coast of Australia to harvest trepang. Today archaeologists believe the Macassans first arrived in the 1500s. Their praus could carry a crew of thirty and it has been estimated that some 1,000 Macassans arrived each year. The trade continued to dwindle toward the end of the 19th century, due to the imposition of customs duties and licence fees and probably compounded by overfishing. In 1907 the last fleet arrived in Australia, due to the White Australia policy.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Jungvirt Karel (1927-2000) Studio Annaview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:

Studio Anna was established around 1954 by Karel Jungvirt (1927-2000) and his wife Toni [nee Coles], first working briefly at Neutral Bay, then Sheppard Street Marrickville, where it remained until closed. In the beginning they exhibited displays at Ceramic Art and Fine Ware Association exhibitions and their business thrived, at one time employing thirty people. The firm focused on slip cast ceramics decorated with local scenes and Aboriginal themes that appealed to both tourists and locals. When the business closed in 1999 Jungvirt returned to his place of birth, Czechoslovakia, a country that he had left in 1951 to come to Australia, and died there the following year. Examples of Studio Anna wares that have paper labels were created towards the end of the business.
The bowl’s subject: A Macassan prau that came from Makassar in southern Sulawesi, Indonesia, to the north coast of Australia to harvest trepang. Today archaeologists believe the Macassans first arrived in the 1500s. Their praus could carry a crew of thirty and it has been estimated that some 1,000 Macassans arrived each year. The trade continued to dwindle toward the end of the 19th century, due to the imposition of customs duties and licence fees and probably compounded by overfishing. In 1907 the last fleet arrived in Australia, due to the White Australia policy.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Jungvirt Toni nee Studio Annaview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:

Studio Anna was established around 1954 by Karel Jungvirt (1927-2000) and his wife Toni [nee Coles], first working briefly at Neutral Bay, then Sheppard Street Marrickville, where it remained until closed. In the beginning they exhibited displays at Ceramic Art and Fine Ware Association exhibitions and their business thrived, at one time employing thirty people. The firm focused on slip cast ceramics decorated with local scenes and Aboriginal themes that appealed to both tourists and locals. When the business closed in 1999 Jungvirt returned to his place of birth, Czechoslovakia, a country that he had left in 1951 to come to Australia, and died there the following year. Examples of Studio Anna wares that have paper labels were created towards the end of the business.
The bowl’s subject: A Macassan prau that came from Makassar in southern Sulawesi, Indonesia, to the north coast of Australia to harvest trepang. Today archaeologists believe the Macassans first arrived in the 1500s. Their praus could carry a crew of thirty and it has been estimated that some 1,000 Macassans arrived each year. The trade continued to dwindle toward the end of the 19th century, due to the imposition of customs duties and licence fees and probably compounded by overfishing. In 1907 the last fleet arrived in Australia, due to the White Australia policy.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Coles Toni later Toni Jungvirt Studio Annaview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:

Studio Anna was established around 1954 by Karel Jungvirt (1927-2000) and his wife Toni [nee Coles], first working briefly at Neutral Bay, then Sheppard Street Marrickville, where it remained until closed. In the beginning they exhibited displays at Ceramic Art and Fine Ware Association exhibitions and their business thrived, at one time employing thirty people. The firm focused on slip cast ceramics decorated with local scenes and Aboriginal themes that appealed to both tourists and locals. When the business closed in 1999 Jungvirt returned to his place of birth, Czechoslovakia, a country that he had left in 1951 to come to Australia, and died there the following year. Examples of Studio Anna wares that have paper labels were created towards the end of the business.
The bowl’s subject: A Macassan prau that came from Makassar in southern Sulawesi, Indonesia, to the north coast of Australia to harvest trepang. Today archaeologists believe the Macassans first arrived in the 1500s. Their praus could carry a crew of thirty and it has been estimated that some 1,000 Macassans arrived each year. The trade continued to dwindle toward the end of the 19th century, due to the imposition of customs duties and licence fees and probably compounded by overfishing. In 1907 the last fleet arrived in Australia, due to the White Australia policy.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Kitty Breeden potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Kitty Potteryview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
17. Souvenir slipware milk jug and sugar bowl, for tourists visiting Wandoan, Queensland, made in Brisbane by ‘Kitty Pottery’.
The Dutch influence is clear in the bold decoration. The town’s name on the sugar bowl is misspelt. Sizes: jug 7 x11.5 cm, sugar bowl 8 x 11.5 cm.
Every time you look on eBay you will probably find an example of Kitty Pottery’s souvenir ware. At the moment (2 April) you will find a dice shaped ashtray made for a Coolangatta retailer ― most likely a news agent or jeweller ― and another ashtray with an Aboriginal style animal for Melbourne.
I discovered that the Kitty Pottery was named after Kitty Breeden, one of the host of migrants in the post-World War Two period who contributed their specialised craft skills to the Australian community. Kitty was born in Soest, Holland in 1933 and trained with a traditional potter Nol de Bruin in a nearby village. The family migrated to Queensland in 1952 and the following year established a pottery behind their home in Stoneleigh Street, Albion. Kitty’s own work and the production prospered and soon her father Jacob joined her
17
to help with marketing. Kitty and Jacob decorated the wares but other Dutch migrants also helped. The success of their contribution to the 1955 Industries Fair prompted a Brisbane based wholesaler W. Hoffnung & Co. to take over the distribution of their products ― and very successfully as the locations on their pieces testify. They had their highest profile during Queensland’s Centenary in 1959 but during the 1960s with the relaxation of importation regulations Australia was flooded with cheap Japanese ceramics. This situation was reflected in migrant-based potteries in Sydney and Melbourne.
One of my interests is the evidence of migration to Australia, such as this small jug and sugar-bowl which asserts its Australian origin with the ‘Qld’. Glenn Cooke gives a fuller appreciation of Kitty Breeden in an article published a 2007 issue of Australiana but the extent of the production of the pottery is clearly demonstrated: Wandoan, is a small rural community of less than 600 people 80kms south west of Rockhampton.
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Mitchell Annie (1874-1961) potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Harvey Schoolview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Mary Ann Macdonald in Brisbane (1879-1949) potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Harvey L J potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Blades Mary potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Laught Johanna potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Lewis A M potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
McKenzie Flora potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Myers Violet potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Webb N M potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Annie Mitchell School - potterview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
potteryview full entry
Reference: see First Australiana Virtual Show and Tell Report April 2020:
23. ANNIE MITCHELL SCHOOL, Adelaide A request for information by Glenn Cooke
Annie Mitchell Jug with kookaburra 1932 Earthenware, hand-built, modelled and glazed
23 x 28 x 15cm and glazed.
E. N. Webb Jug with bird 1938 Earthenware, hand-built, modelled
10 x 13 x 8cm
My article ‘The Founding Years of Harvey School 1916-1922: Completing the Story’ which appeared in the first Australiana this year finalised research on a vital but obscure part of the School’s history. The history of the spin offs of Harvey’s methods in regional Queensland (none more so than in neighbouring Ipswich) is even more obscure than that in other States . . .
However, a collector here in Brisbane has a substantial group of the work of Annie Mitchell and her students in Adelaide and I have been tempted by the prospect of developing a picture of the School, even at this distance and with the knowledge that the possibility of any personal recollection is indeed remote.
After the death of both her parents in 1929 the 55 year old Annie Mitchell (1874-1961) visited her first cousin Mary Ann Macdonald in Brisbane (1879-1949) ― she would have had no inkling that she was to embark on the most significant part of her life. Macdonald was already an accomplished practitioner of the method of hand-built art pottery taught by L.J. Harvey at the Central Technical College, and Mitchell accompanied her to these classes. Mitchell was already a proficient china-painter, but her enthusiasm for Harvey's hand built ethic inspired her to begin classes on her return to Adelaide the following year. The classes, taught from her home at Goodwood, lasted for more than 20 years.
Her early work in Adelaide was a continuation of what she had learned in Brisbane, but slab-building gave way to the simplicity of ‘pinch building’, and she even introduced the most ‘primitive’ form of all ‘coil building’ to her students. Vestiges of Harvey’s functional forms can be seen in the occasional coffee pot she made, but Harvey’s set of teaching exercises (so distinctive of the output from Brisbane) also disappear. The complex surface decoration of Brisbane pieces such as carving and double sgraffito gave way to applied decoration and simple glazing.
Apart from the ladies she taught Mitchell gave classes to children, and neighbours recall bus-loads of children being delivered to Goodwood. Because Mitchell fired her student’s
22
work she eventually had three separate kilns. Like private classes elsewhere there is no record of her classes, and the identity of her students has to be determined from surviving works. These include: Mary Blades, Johanna Laught, A.M. Lewis, Flora McKenzie, Violet Myers, N.M. Webb, and a host of others. Unfortunately, although the School pieces were consistently named they were infrequently dated.
So, I would be happy if members of Australiana could contact me with details of Annie Mitchell and her students that may be in their private collection. I would be especially delighted if any were dated. (contact via Australiana.Queensland@gmail.com if you do not have Glenn’s email)
Publishing details: online: https://www.australiana.org.au/resources/Documents/First%20Australiana%20Virtual%20Show%20and%20Tell%20Report%207%20April%202020.pdf
Rae Isoview full entry
Reference: see Sir John Monash Centre, Australian National Memorial Centre, France. Onlibe article: AUSTRALIAN WOMEN ARTISTS ON THE WESTERN FRONT.
‘Isobel ‘Iso’ Rae was one of only two Australian female artists who were able to depict the First World War from close to the frontlines. Rae was not an official war artist, but produced about 200 pastel drawings while working for the Voluntary Aid Detachment of the British Red Cross (VAD) in the large army camp at Étaples from 1915-1919.
Strategically sited near the coast, Étaples became the largest British army base of the war, serving the British and dominion forces. The base served as a training ground for troops returing to, or bound for the first time to the front, a depot for supplies, a detention centre for allied and enemy prisoners and it administered several large hospitals. By 1917, there were 100,000 troops camped among the sand dunes at Étaples, and the hospitals were able to deal with 22,000 wounded and sick at any one time.
Rae’s drawings offer an insight into life at this important base.
The artworks emphasise forms in heavy black outlines and capture unique images not portrayed by any other artist.
Born in Melbourne, Rae trained at the National Gallery School with George Folingsby and her fellow students included renowned artists Tom Roberts, Frederick McCubbin and John Longstaff. Rae moved to Paris in 1887 with her family and in 1890 she joined the artists’ colony at Étaples, while continuing to exhibit her paintings in the Paris Salons. When the First World War began, the Rae family remained in the town.
At the end of the war Iso moved to the small village of Trepied, near Etaples, where she stayed until 1932, then went to England to live at St Leonards in Sussex. She died on 16 March 1940 at the Brighton Mental Hospital.’
Nicholas Hilda Rixview full entry
Reference: see Sir John Monash Centre, Australian National Memorial Centre, France. Onlibe article: AUSTRALIAN WOMEN ARTISTS ON THE WESTERN FRONT.

Hilda Rix Nicholas was born as Hilda Rix in Ballarat, Victoria, in 1884. Her father, Henry Finch Rix, was a prominent teacher and poet and her mother Elizabeth Sutton was a musician and artist who had attended the National Gallery of Victoria School alongside Arthur Streeton, Fredrick McCubbin, Rupert Bunny and Emmanuel Phillips Fox. Rix Nicholas also attended the school and was taught by McCubbin.
Early in her career she exhibited illustrations with the Victorian Artists Society and the Austral Salon (a significant women’s arts society at the time). After graduating in 1907 she left Australia for Europe with her sister and her recently widowed mother. From 1910 she spent three summers in the artists’ colony of Étaples and had her works exhibited in the ‘New’ Salon in Paris.
At the outbreak of the First World War, Rix Nicholas and her family moved from France to the relative safety of England. The boats were crowded and both her mother and sister contracted dysentery. Her sister subsequently died in September 1914 and her mother in early 1916.
By late 1916, Rix Nicholas’ life seemed to be improving when she met, and married, shortly after, fellow Australian, Major George Matson Nicholas DSO. He had been based in the Étaples Army Camp, and having seen the paintings Hilda Rix left behind in her studio, tracked her down in England, and a romance ensued. Her joy in finding love is seen in a letter she wrote to him just weeks later:
Dear, I love you so … You are in danger and I am far away. Oh this ghastly war. Dear husband be brave and splendid and always your best, but don’t be reckless. I need you and love you utterly.
Tragically, Major Nicholas was killed before the letter could be delivered to him.
The great loss suffered by Rix Nicholas at wartime really shaped her art, and the paintings she created in 1917 expressed the depths of her despair. While driven by her own personal experience, these paintings represented the suffering of all war widows. At the time, art tended to focus on war heroes and sacrifice and it was unusual to find strong statements about the impact of death.
One of Rix Nicholas’s more famous works is ‘A mother in France’, a portrait of her neighbour in France whose son had been killed in one of the first battles of the First World War. The painting quickly became a symbol of the suffering of all mothers who had lost their sons at war.
From late 1917, Rix Nicholas began a series of portraits that celebrated the qualities and commitments of the Australian diggers. She began by portraying her late husband and his brothers, but the series grew into a large project once she returned to Australia. She received a very positive response to these works, particularly from returned soldiers who appreciated her recognition of their service and sacrifice.

Rix Nicholas achieved her ambition of taking Australian artworks to Europe. In 1925, she became the first Australian female artist to hold a solo exhibition in Paris. After she returned to Australia she remarried and painted from a studio on her rural property in southern New South Wales. Rix Nicholas continued to paint and exhibit until the 1950s, when her eyesight declined. She died at the age of 77, in 1961.
In 2015, the Australian War Memorial added to its collection by purchasing nine portraits by Rix Nicholas.
Chapman Evelynview full entry
Reference: see see Sir John Monash Centre, Australian National Memorial Centre, France. Onlibe article: AUSTRALIAN WOMEN ARTISTS ON THE WESTERN FRONT.
In early 1919, Sydney born painter Evelyn Chapman accompanied her father, a member of the New Zealand War Graves Commission, to France, visiting the Somme area where many Australian and New Zealand soldiers had lost their lives. Struck by the destruction she witnessed in the villages and towns, Chapman set up her easel and began to paint the ruined buildings and landscape, devastated by years of continued bombardment. She was the first female Australian to visit the battlefields.
Despite the desolation, Chapman was able to imbue her work with a sense of optimism and colour, showing plants and flowers growing among the ruins.

(illustration: 'Interior of a ruined church, France' painted by Evelyn Chapman, 1919 (AWM ART19586).

'Ruined church with poppies, Villers-Bretonneux' by Evelyn Chapman, 1919
In 1920 and 1921 she exhibited at the Salon des Beaux Arts, Paris, retiring from painting after her marriage to Dr George Thalben-Ball in 1925; however she continued to support art education and practice, and passed her love for art on to her daughter
Portraits of Remembrance: Painting, Memory, and the First World War view full entry
Reference: Portraits of Remembrance: Painting, Memory, and the First World War, Margaret Hutchison (Editor), Steven Trout (Editor), J. M Winter (Writer Of Afterword)
Publishing details: University Alabama Press, 2020. Hard cover. Sewn binding. Cloth over boards. 352 p. Illustrations.
Ref: 1009
war and Australian artistsview full entry
Reference: see Portraits of Remembrance: Painting, Memory, and the First World War, Margaret Hutchison (Editor), Steven Trout (Editor), J. M Winter (Writer Of Afterword)
Publishing details: University Alabama Press, 2020. Hard cover. Sewn binding. Cloth over boards. 352 p. Illustrations.
Quinn James 1869-1951 brief biographyview full entry
Reference: see WA Art Auctions, April 30, 2020, Perth, WA, lot 40:
JAMES QUINN 1869-1951 "Portrait of a Young Girl in a Blue Dress" 1933 signed oil on canvas, 122x76cms, unframed. A charming large 1930's portrait of a young girl by James Quinn. Quinn was an Australian born painter who moved to Europe in the early 20th Century, commissioned to paint portraiture of the Royal Family. Quinn studied part-time under Frederick McCubbin 1887–1999, at the Melbourne National Gallery School under George Folingsby and Bernard Hall 1889–1893, then in Paris at the Académie Julianand the École des Beaux-Arts from 1893–1901 under Jean Paul Laurens aided by a National Gallery of Victoria travelling scholarship. He spent time painting at the Etaples art colony in northern France, alongside other Australians including Rupert Bunny and Hilda Rix Nicholas. By 1904, he was a highly successful portrait painter and exhibited at the Royal Academy of Arts in London. His Mère et Fils (of his wife and son), was awarded an honourable mention at the Old Salon, Paris, in 1912. He was commissioned to paint Joseph Chamberlain, the Duchess of York and the Duke of Windsor. He was accredited official war artist for the First AIF during World War One, painting prominent officers in France (causing considerable friction with authorities and fellow artists). In 1919 in London, Quinn painted General Sir John Monash, Commander in Chief of the Australian Corps. Monash, credited as the most resourceful and innovative General of WW1, planned and carried out with his 5 Australian Divisions, and the Canadian Corps on their right flank, the significant victory at the Battle of Amiens, 8 Aug 1918 - 0808 - which brought about the earlier than expected end to WW1. Quinn's portrait hung over the Monash-Bennett family mantel until recently loaned permanently to the Australian National Portrait Gallery,Canberra. This portrait, the family favourite, was the model for the Monash Medal awarded each year to an Outstanding Australian for her/his contribution in Leadership, Integrity, and Service to the Australian community and beyond.Then from 1919, Quinn worked with Canadian War Records, only returning to Australia in December 1935 after the death of son René. He rejoined the highly conservative Victorian Artists Societyand was even president for a year, but his openness to modern art made him no friends and was the basis of a public confrontation with Prime Minister Robert Menzies. In 1937, Quinn was elected president of the Victorian Art School, a position he held until his death in 1951 and taught at the National Gallery of Victoria Art School. A commemorative exhibition at the Victorian Centre for the Arts in 1980 enhanced his posthumous reputation.

Quinn James 1869-1951 biographyview full entry
Reference: from DAAO:
Also known as James Peter Quinn
Artist (Painter) Painter and contemporary of George Coates, Charles Conder, Arthur Streeton and Tom Roberts, James Quinn spent a number of years studying in Paris as the recipient of the National Gallery Travelling Scholarship in 1894. Though no modernist himself, Quinn publicly opposed Sir Robert Menzies when, in 1941, Menzies opened an exhibition with derogatory remarks about modern art.
Australian painter James Quinn was born on 4 December 1869 in Melbourne, the son of a restaurateur. He studied at the National Gallery School, Melbourne, from 1886 to 1893, where fellow students included George Coates , Charles Conder and Arthur Streeton . In 1894, Quinn went to Europe with the assistance of the National Gallery Travelling Scholarship and, while in Paris, he studied at the Académie Julian, the Ecole des Beaux-Arts, the Académie Colarossi and the Académie Delécluze.
In 1902 Quinn moved to London where he married fellow art student Blanche Guernier and established a reputation as a portrait painter. He painted many studies of his family, such as Mother and sons 1910 (Art Gallery of New South Wales, Sydney), as well as portraits of fellow Australian artists Tom Roberts and George Bell . His portraits of notable people include the Queen Mother when she was Duchess of York. A lover of good food, wine and conversation, Quinn frequented the Chelsea Arts Club and the Café Royal, where he mixed with Australians including Streeton, Roberts and George W. Lambert .
During the First World War, Quinn was an Australian official war artist in France, responsible for portraits of distinguished Australian servicemen and, in 1919, he was an artist for the Canadian War Records. After the war, he continued to paint portraits in London but in 1935, on the death of his artist son René, he returned to Melbourne. He lived a bohemian life of genteel poverty, teaching for a short while in the mid-1940s at the National Gallery School. Though no modernist himself, Quinn publicly opposed Sir Robert Menzies when, in 1941, Menzies opened an exhibition with derogatory remarks about modern art. James Quinn died of cancer on 18 February 1951 in Melbourne, aged 81.
Writers:
Gray, Dr Anne Note: Head of Australian Art, National Gallery of Australia, Canberra, ACT
Date written:
2004
Last updated:
2011
lithographyview full entry
Reference: The Establishment and Development of Engraving and Lithography in Melbourne to the time of the Gold Rush, by Thomas A Darragh
Publishing details: N.S.W.: Garravembi Press, 1990. Octavo, quarter-cloth over papered boards, illustrated dust jacket, pp. 57, tipped-in plates, prospectus loosely enclosed. Limited to 425 copies.
printingview full entry
Reference: The Establishment and Development of Engraving and Lithography in Melbourne to the time of the Gold Rush, by Thomas A Darragh
Publishing details: N.S.W.: Garravembi Press, 1990. Octavo, quarter-cloth over papered boards, illustrated dust jacket, pp. 57, tipped-in plates, prospectus loosely enclosed. Limited to 425 copies.
engravingview full entry
Reference: The Establishment and Development of Engraving and Lithography in Melbourne to the time of the Gold Rush, by Thomas A Darragh
Publishing details: N.S.W.: Garravembi Press, 1990. Octavo, quarter-cloth over papered boards, illustrated dust jacket, pp. 57, tipped-in plates, prospectus loosely enclosed. Limited to 425 copies.
Establishment and Development of Engraving and Lithography in Melbourneview full entry
Reference: The Establishment and Development of Engraving and Lithography in Melbourne to the time of the Gold Rush, by Thomas A Darragh
Publishing details: N.S.W.: Garravembi Press, 1990. Octavo, quarter-cloth over papered boards, illustrated dust jacket, pp. 57, tipped-in plates, prospectus loosely enclosed. Limited to 425 copies.
Dahle Thelma sculptorview full entry
Reference: see National Museum of Australia collection: Life mask consisting of a rectangular varnished wood mount with a metal profile portrait of Kingsford-Smith on the front. On the back a metal plate reads "Sculpture profile in high relief of Sir Charles Kingsford Smith, by T. Dahle". Written below in pen is "16 West St Nth Sydney N.S.W, E. Rogers 36/ 6 Wyargine St Mosman, 2088" 1932.
The Ellen Rogers collection consists of fifteen items of memorabilia associated with Australian aviation pioneers, Sir Charles Kingsford Smith and Charles Ulm. The collection consist of a half-size bronze life-mask of Sir Charles Kingsford-Smith; full-size bronze life-mask of Charles Ulm; propeller hub of an Australian National Airways Ltd (ANA) Avro X Lynx engine; half-main bearing removed from the central engine of the 'Southern Cross' aircraft after the 1928 trans-Pacific flight; Charles Ulm's attache case; framed composite photograph with dedication; black and white photograph of 'Faith in Australia'; commemorative wall clock mounted in a propeller; and a velvet lined timber dressing case containing silver plated brushes, comb and mirror. The objects in this collection, many of them presented as gifts to Rogers, reflect the respect and affection Kingsford Smith and Ulm held for their secretary whom they referred to as 'Rog'. In 1928, Charles Kingsford Smith and Charles Ulm became the first aviators to cross the Pacific Ocean by air in the 'Southern Cross'. With two American crewmembers, they took off from Oakland, California, on 31 May 1928 and flew via Hawaii and Suva to Brisbane, completing the historic 11,585 kilometre crossing in 83 hours, 38 minutes, of flying time. Kingsford Smith and Ulm were awarded the Air Force Cross and given honorary commissions in the Royal Australian Air Force. In December 1928, they founded Australian National Airways Ltd (ANA) as a passenger, mail and freight service between cities and towns in eastern Australia. Mounting financial difficulties forced ANA to suspend all passenger services in June 1931, and the company entered voluntary liquidation in February 1933. The two aviators died tragically while pursing their interests - Ulm disappearing in December 1934 flying between California and Hawaii, and Kingsford Smith lost without trace in 1935 off the coast of Burma. Ellen Rogers was employed as secretary to Kingsford Smith and Ulm following the trans-Pacific flight, during the establishment and operation of ANA, and continued working as private secretary to Charles Ulm until his death.
Terms of Use


Dicks Edmund Jview full entry
Reference: see National Museum of Australia collection: Plaster bust of Oliver Nilsen moulded onto a square plinth which tapers towards the top. All surfaces except the base of the plinth are painted brown. A small metal plaque on the front of the plinth has the following inscription: 'OLIVER.J.NILSEN. / PRESENTED TO / "O.J." / BY HIS EXECUTIVES / AUGUST 1948. / STG.SIL.'.
The Edmund Dicks Collection comprises a plaster bust of Truganini (1812- 1876), two plaster low relief sculptures in a wood frame of Truganini and William Lanney (1834-1869), and a plaster bust, Oliver J Nilsen CBE (1884-1977). The sculptures are excellent examples of veristic art associated with portrait sculpture produced in the late nineteenth and early twentieth century. They were created by the donor's father Edmund J Dicks, in the 1930s and 1940s. Truganini and William Lanney lived in Tasmania in the colonial era where they associated closely with the white settlers. They both actively worked for the advancement of the Indigenous people in Tasmania and were erroneously considered the last man and woman of their race. This collection would help fill a significant gap in the National Historical Collection for exhibition material pertaining to the Aboriginal people of Tasmania, and their history.

Cohn Olaview full entry
Reference: Ola Cohn 1892-1964 : sculpture. Catalogue of an exhibition held at the Bendigo Art Gallery, 21st September to 30th October, 1983 .

Publishing details: Bendigo Art Gallery : Bendigo, Victoria, 1983
Ref: 1009
Larter Patview full entry
Reference: Pat, works by Pat Larter, Utopia Art, April 2020
Publishing details: Utopia Art, 2020 (catalogue details to be added)
Ref: 1000
Larter Patview full entry
Reference: see Sydney Morning Herald for article on Pat Larter and the exhibition ‘Pat, works by Pat Larter’, Utopia Art, April 2020
Publishing details: SMH 20 April 2020, p29
Larter Richardview full entry
Reference: see Sydney Morning Herald for article on Richard Larter and Pat Larter and the exhibition ‘Pat, works by Pat Larter’, Utopia Art, April 2020
Publishing details: SMH 20 April 2020, p29
Parsons Hedley (1870-1960)view full entry
Reference: see Jasper52 auction, Hawaii, Apr 30, 2020
lot 5, from a recent estate in Honolulu Hawaii, this 1930 Australian watercolor painting on paper that is titled "Pineapple Seller" depicting a brown skinned figure in a loin cloth carrying pineapples by known artist Hedley Parsons (1870-1960).
The condition is described above - for more details please check the photos.
Measurements:
Painting 6.5 inches x 5.25 inches
Mat 20 inches x 16 inches
More about the artist:
Hedley Parsons
(1870 - 1960)
Hedley Parsons was active/lived in Australia. Hedley Parsons is known for painting.
Boyd Martin novelist - Boyd familyview full entry
Reference: Martin Boyd - A life by Brenda Niall [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
de Pury Victor view full entry
Reference: see Oil paint and ochre : the incredible story of William Barak and the de Purys. by HAWKING, Karlie; DOYLE, Helen; ALLEN, Max; MURPHY, Joy Wandin.
Catalogue to accompany an exhibtion at the YRRM, August 29 – November 22 2015, which tells the story of the friendship between Wurundjeri leader and artist William Barak, a long-term resident at the Coranderrk Aboriginal Reserve, and the local Healesville Swiss immigrant winemakers, the de Pury family. Many of the artworks and photographs in the exhibition are from the Yeringberg Collection. [’Barak was a Wurundjeri leader who engaged with Guillaume de Pry and his family in the late 19th century. This exhibition featured Barak's drawings, Victor de Pury's paintings and photographs of their families.‘]

Publishing details: Yarra Ranges Regional Museum, [2015]. Quarto, stiff wrappers, 48 pp, illustrated in colour, 2 maps; an as new copy.
Leach-Jones Alun view full entry
Reference: see Leonard Joel Sydney ‘The Moon Has Set’, 2003, by Alun Leach-Jones (1937-2017), a colourful and vibrant example of the artist's signature approach to abstraction. Featuring complex yet clean shapes arranged on planes of colour, this painting features motifs familiar to the artist's oeuvre such as snakes and ladders. Believing that colour drove the emotion and structure of his work, Leach-Jones dedicated his life to an obsessive dedication to artmaking. His compositions often began with many variations of drawings, detailing small changes to shapes hardly noticeable from one draft to the next. A key figure in the 1960’s art movement “New Abstraction” in Australia, Leach-Jones went on to carve out a distinguished legacy and his works can be found in museums and collections around the world.
Alun Leach-Jones with a variety of Liquitex paint jars in his Macquarie University studio, Sydney, 1977 Image courtesy Macquarie University, SydneyBorn in 1937 in Lancashire, UK, Leach-Jones began his artistic career early at age 14, undertaking a three-year apprenticeship with the Solicitors Law Stationary Society, Liverpool, illuminating manuscripts. From 1955 to 1957 he studied painting and drawing in the evenings at the Liverpool College of Art and in 1959 he travelled to London to see the exhibition “New American Painting” at the Tate where he encountered abstract expressionist works that would prove critical in challenging the way he thought about form and colour. In 1960 he immigrated to Australia, settling in Adelaide and attending the South Australian School of Art where he studied printmaking under Udo Sellbach and painting with Charles Reddington.
 
Since holding his first solo exhibition with Australian Galleries in Collingwood in 1967, Leach-Jones went on to have more than 80 solo exhibitions over the course of his career and was included in ground breaking group exhibitions such as “The Field” at the National Gallery of Victoria in 1968. He began his teaching career in the same year at the Prahran College of Advanced Education and the following year he represented Australia at the Bienale del Sao Paulo in Brazil. He and his wife, fellow artist Nola Jones, travelled extensively and spent time living in New York, South India, Berlin, London, and South Wales.  Leach-Jones has been described as “an artist’s artist”, a genuine mentor and teacher for many who was passionate about making, flowing between the mediums of painting, drawing, sculpture, linocuts, screenprints and etchings.

The Moon Has Set, 2003, forms part of our upcoming auction on 30 June.
Publishing details: Joels 30 June, 2020
Rowan Ellisview full entry
Reference: Ellis Rowan - A life in Pictures by Christine Morton-Evans. [‘The extraordinary Ellis Rowan was no mere 'lady flower painter'. To great effect, she cast herself in the role of 'intrepid lady explorer', and became as well known for her lively accounts of flower-hunting exploits as for her paintings. This is her story, told through the wonderful paintings that form part of her collection of 970 works held by the National Library of Australia.’]
Publishing details: NLA, 2020, 185 pages : colour illustrations, portraits
Canfield Jane view full entry
Reference: TONAL, Jane Canfield, exhibition at Day Fine Art, April 2020.
‘Living just west of the Blue Mountains in a little hamlet called Lidsdale, we were the first to see fires in September 2019. If only we knew what was to come. Now the land is recovering, paddocks are green and flowers are blooming as we come into an early Autumn. Nature is bouncing back and it appears to have learnt how to rain again, at least in some parts of the country, at least for now. Like many, I am very concerned with our environment and the impact of too many humans on this beautiful planet.

So, as I started some of these paintings just as the fires began in 2019, it is interesting to look back over the months of work and see the strange seasons. The snow, then the fires, the spring growth then the drought’s impact. A positive and negative see-sawing of weather and emotions.
 
Then there are the rest of the paintings for this exhibition. Like the climate, these works see-saw between current paintings and some works that came from 2012. My residency in Northern NSW, beloved dogs that have been part of my life, friends pups and still life’s from my beautiful historic home. My work is a diary of my travels and the environment around me. I find it exciting to see my paintings in one exhibition that span almost 8 years and the subject and development of my work.

I always strive to reduce and simplify and I am drawn to panels of colour. The linework comes and goes. In earlier works it is under the final layers of paint, in the latest, I sometimes draw back in or allow the basic structure to show, many becoming mixed media, using oil, conte, charcoal, pencil and sometimes a stick or the handle of the brush to make marks and often scumbling with almost dry brushwork to soften and reduce.
 
I hope that these works bring some enjoyment, some peace and in some, a reminder of the power of nature and that humans are really inconsequential. We need this planet more than it needs us.’

Jane Canfield April 2020
Publishing details: Day Gallery                  
27-29 Govetts Leap Rd | Blackheath | NSW | 2785, 2020.
Boyd familyview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Arthur numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Arthur Merric numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd David numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Guy numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Hermia numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Jamie 4 referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Merric numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Minnie numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Boyd Penleigh numerous referencesview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Creswick Alice pp 110-11, 122, 123view full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Fox E Phillips p58, 59, 72, 226view full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Lindsay Daryl view full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Perceval Johnview full entry
Reference: see Martin Boyd - A life by Brenda Niall. Indexed. [This biography of Boyd, the Anglo-Australian novelist, traces his ancestory, his creative peers, and his 'complex personality' (ie his homosexuality and anti-modernism)’]
Publishing details: Melbourne University Press, 1988, 268pp, b&w illust, softcover.
Taylor Florence Mview full entry
Reference: George A. Taylor. The Ways of the World. (The author was a prominent journalist, married to Florence M. Taylor. George Taylor drowned in the bath of his Sydney home in 1928).

Publishing details: Syd. Building Limited. n.d. (c.1925) 342pp. b/w ills. col.plates.
free endpaper, 1st ed. Roy.8vo. Or.cloth.
May Philview full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Mayer Hy view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Julius Harry view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Nankivell Frank view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Lascelles Charles (1860s)view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Wangenheim Gustavus view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Scott Montague view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Clint Alfred view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
MacLeod William view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Carrington Thomas view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Sass Alekview full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Dancey G Hview full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
McDonald J (Pasquin)view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Pasquin (J McDonald)view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
McLean Hview full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Dyson Ambrose view full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
Grosse E Mview full entry
Reference: see Caricature : its humorous story in 15 doses by George Taylor, Illustrated by the World’s Greatest Comic Artists &c. Includes the work of Australian artists George Taylor, Phil May, Hy Mayer, Livingstone Hopkins, S T Gill, Norman Lindsay, Frank Mahoney, , Harry Julius, Will Dyson, Frank Nankivell, with references to Alek Sass, Alf Vincent, Ward (?), Preston(?), Charles Lascelles (1860s), Montague Scott, Alfred Clint, William MacLeod, Gustavus Wangenheim, Thomas Carrington, Nicholas Chevalier, Bradley (?), Ambrose Dyson, G. H. Dancey, D. H. Souter, E. M. Grosse, Hugh McRae, H McLean, J. McDonald, (Pasquin). Examples of international caricaturists and cartoonists are provided. Examples of Taylor’s ‘mechanical caricatures’ (using collage, etc)
Publishing details: Building Ltd., 1913. soft cover, stapled binding. 76 p. : illus.
WILLIAMS, George Gilbert Hotspur Murray (1877- 1964)view full entry
Reference: see eBay listing, April, 2020:
GEORGE H. WILLIAMS
(1878-1964) AUSTRALIAN
The artist's full name is George Gilbert Hotspor Murray Williams, but he always went by and signed G.H. Williams. Hotspor was the name of a ship for which his father had been a Welsh sea captain; hence he inherited this unusual name. He was born in Adelaide, South Australia in 1878 and died at age 89 in 1964. As the surrealist movement of the 1940's took hold in Adelaide, G.H. Williams embraced this new movement and focused his works on surrealism.  He, along with fellow artists, gained increasing recognition particularly following the International Surrealist Exhibition at the National Gallery of Australia, Canberra, where their paintings were displayed and included in the book, "Surrealism: Revolution by Night".
G.H. Williams painted quite a number of floral in his earlier years and was also well known for his paintings of roses which he loved. In fact, a large central floral arrangement is featured in one of his surrealist paintings called "Equilibrium".  His paintings were collected by major art galleries in Australia, and the South Australian Art Gallery (Museum) possesses a collection of his paintings.
O’Connor Vic (1918-2010)
view full entry
Reference: Vic O’Connor, Folio of Linocuts 1980
Pumpkin Seller, Going Home I, Going Home II, Winter Sunshine, The Park
linocuts published by Port Jackson Press,
sizes vary
Publishing details: Port Jackson Press, 1980.
Ref: 1000
Troedel Charles view full entry
Reference: Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).
lithographyview full entry
Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).
printingview full entry
Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).
Cumpston Nici view full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
NICI CUMPSTON 21 Bared, 2020
Nici Cumpston is a proud Barkandji artist, curator and educator and has been documenting the Murray Darling Basin and its waterways since 2000. For Cumpston, ‘Rivers are our livelihood; like a trusted relative, they support us by providing food, water and shelter. We rely on them to sustain us physically, emotionally and spiritually.’
In this work on the sandy edge of Nookamka Lake, within a bed of fine mussel shell grit, a lone ring tree stands sentinel. The ring was made when the tree was a sapling; shaped by ancestors it is a boundary marker as well as a sign indicating this as an important place for gathering and as a place of abundance. This ring tree has held watch over a sacred lake sustaining Aboriginal people from this area for millennia, as well as many different language groups who have come to share important information at this site.
But the majestic tree is dead.
Since colonisation, dramatic change continues for the Aboriginal people of the Murray Darling Basin and their waterways. The mussel shells no longer grow to the grand old age that they did when the freshwater flowed, prior to intervention and greed. Vital to the health of the river, the mussels filter and clean the water. The death of the river system speaks to a broader tragedy.
Bared exposes this change and loss, stemming from the point of Cook’s arrival through to today. But it also symbolises strength for Cumpston. A strength in Aboriginal people working together to overcome the travesty of colonisation; the over-allocation of water, the greed and the devastating water ‘buy-back’ scheme which jeopardises the livelihood of all Australians who have built their lives around river systems.

Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Croft Badenview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
BADEN CROFT 27 Fox, 2019
Baden Croft is an emerging artist based in Victoria’s Mornington Peninsula. His practice is influenced by life on the Australian coast. For Croft, Captain Cook serves as an icon of exploration but also as a devilish symbol of demise, and while he cannot be blamed solely for the events that followed first contact, his attitude has certainly managed to filter through.
Croft hopes that these paintings encourage audiences to consider what Cook represents as a symbol for change. Beyond analysis of Cook
the man and his actions as an individual, Croft is interested in Cook as a symbol for the ultimate effects of colonisation.
Thick textured surfaces abound in Croft’s work. Mt. Warning, 2019 shows a twisted gum at a place named by Captain Cook from the sea as he travelled up the East Coast of Australia. Mt. Warning is also called Wollumbin, a place of cultural and traditional significance. Croft’s painting clearly questions the nature of Cook’s warning – and who exactly the warning was intended for.
In Fox, 2019, a fox has snuck into the birdhouse, he clutches his bloody prize as Captain Cook’s portrait looms in the background.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Etherington Marcview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
MARC ETHERINGTON 33 First Contact [Triptych]
Endeavour #1, “Discovering” Australia, Endeavour #2], 2020
Marc Etherington’s work rings with emotional truth. His paintings have always held a touching immediacy that comes from an unguarded and authentic approach to art-making. Etherington often engages audiences with light-hearted playfulness, but where the end result is usually humorous, in this new triptych he strikes a more sombre tone.
Etherington’s hope is that Australian’s dig deeper into the truths surrounding the discovery of Australia. This work suggests a play
in 3 acts; a hopeful journey, a violent encounter, and a return under dark clouds and a blood-red sea. Cause and effect. A boiling down of a complex narrative to an emotional truth.
I think making these works made me feel even more empathy for how it must’ve felt being an indigenous Australian living in your home country and having a ship full of men with guns show up on the beach and basically say “This is our country now”. The past seems to be whitewashed and sanitised to try and erase the horrors which have occurred to the Indigenous people of Australia.
— Marc Etherington, 2020
Etherington’s works often take pop culture, childhood memories
and everyday domestic life as their subject matter, rendering them through a darkly humorous and sometimes absurd lens. Self-taught, Etherington has maintained a consistent practice in painting and small sculpture for over a decade and more recently has worked with larger-scale sculptural installations and ceramics. Etherington has become a crowd favourite at the Archibald, Wynne and Sulman prizes over the last 5 years, firmly establishing his place in the Australian art landscape.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Malherbe Robertview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
ROBERT MALHERBE 35 Cook Gazes Towards Shore Missing Elizabeth, 2020
Robert Malherbe was born in Mauritius before he migrated with
his family to Australia at age six. Having initially studied animation, Malherbe is largely a self-taught painter who has keenly observed and taken inspiration from masterworks around the globe.
Looking closely at the relationship between his subjects, himself, and his audience, Malherbe notes that all portraits are to some degree self- portraits. It is for this reason that he sought a closer view of James Cook before painting his portrait. Like many, Malherbe was taught
the myth of “Captain Cook, The Discoverer”, thus in re-creating his portrait Malherbe sought to find Cook’s strengths and flaws away from the British imperial apparatus.
Thomas Keneally in his book “The Australians” writes that Cook would have been “a shocking apparition to the Eora people of Botany Bay” and describes him as an aloof man “impermeable to disabling doubt, immutable of faith, unapologetic of skill” but also a man who adored his wife, Elizabeth.
I have an image of a driven man, a fair but strict commander, battling loneliness and ill-health while brilliantly navigating using lunar distances and the stars. The pressures, I imagine, were immense.
In his voyages away from England, he successfully avoided “The afflictions of Venus.” (V. D.) by resisting the temptations of the native women and staying faithful to his wife. During a 17 year marriage, he was at sea for the total of 13 years. He made up for it in the 4 years spent at home with Elizabeth, fathering six children. Elizabeth, by
all accounts a force of nature, outlived James and their children,
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
McGlennon Josephview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
JOSEPH McGLENNON 39 Ghost Ship, 2020
Joseph McGlennon’s photographic works are majestic recreations of animals in their natural habitats, often drawing from the deep well that is Australia’s early history of settlement and the introduction of the species.
There is an excerpt from the Cook journals that has always captured McGlennon’s imagination and has served as this inspiration for Ghost Ship. The story originated with Joseph Banks, botanist on Captain Cook’s 1770 voyage.
When the Endeavour arrived at the coast of Australia the Aboriginal people completely ignored it, possibly because the huge ship was so alien to their experience that they literally failed to ‘see’ it. Sailing into what is now known as Botany Bay, Banks records that the Endeavour passed four ‘Indian canoes’, with a man spearing fish from each. He writes:
The ship passed within a quarter of a mile of them and yet they scarce lifted their eyes from their employment; I was almost inclined to think that attentive to their business and deafened by the noise of the surf they neither saw or heard her [the Endeavour] go past them.
Not one was once observed to stop and look towards the ship; they pursued their way in all appearance entirely unmoved by the neighbourhood of so remarkable an object as a ship must necessarily be to people who have never seen one.
— Joseph Banks, HM Bark Endeavour Journal dated 28 April 1770
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Richardson Jordanview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
JORDAN RICHARDSON 47 Captain James Cook, Discoverer of New Lands / Captain
James Cook, Destroyer of Peoples [Diptych], 2020
Jordan Richardson’s paintings take breath from an observation of art conservation. The material quality of old paint, its tackiness and elasticity is a daily obsession that drives his painting practice and informs a strategy for paint application.
When first invited to participate in Navigating Cook, Richardson immediately thought of painting two contrasting portraits. One depicting an idolised Cook who is heroic and good; the other a figure of evil and villainy. After considering the idea of two contrasting portraits Richardson realised that no matter how Cook was perceived his physical likeness was fixed. The monster or the saint must live within the shell of his image proscribed image; the ubiquitous face of Dance’s 1775 portrait.
As such, the Artist presents two very similar portraits of Cook to highlight the multiple interpretations we can have from the same piece of information. We are encouraged to search for variation between the Discoverer and the Destroyer. What sets them apart? What unites them? In attempting to duplicate his own portrait Richardson suggests that there are in fact, multiple possible mythologies for Cook.
I think Cook’s personal legacy and mythology have strayed from reality. He has become iconic, and now that he has become a symbol there is no real truth. Cook has been a vague figure; the myth is larger than the man. When someone’s life becomes myth they lose ownership of it.
After making this work I think that Cook sits somewhere between the extremes suggested in my title. I think our perception of Cook today can shape the past, or at least the way we read it.
Jordan Richardson
Captain James Cook, Discoverer of New Lands / Captain James Cook, Destroyer of Peoples [diptych], 2020
oil on linen
50 x 40cm each
$7,700 framed (for the pair)
— Jordan Richardson, 2020
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Ross Joanview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
JOAN ROSS
View of New Holland, 1770, 2020 cont.
The Lycett Album: Drawings of Aborigines and the Australian Scenery
/ with commentary by Jeanette Hoorn, [Canberra], National Library of Australia, vii, 30 pages, 20 pages of plates: illustrations, 1990.
Joseph Lycett (circa. 1775-1828) was convicted of forgery and transported to Australia in 1814. During the period, he spent in the colony Lycett recorded many aspects of the life and landscape of Australia. The 1820’s Lycett Album of watercolour sketches, contains one of the few depictions of works which document the life and use of the land by Aboriginal people in the early colonial period.
In the works contained in Lycett’s early 19th-century album, we see a return to an earlier mode of depicting Aborigines in control of the land; they are also seen in conflict with Europeans, a subject that Lewin, Evans and Eyre avoided. Aboriginal people occupy centre stage in Lycett’s compositions; restored to their former place, they no longer have the status of ‘other’. Yet Lycett’s pictures describe a situation which was disappearing. By the second decade of the nineteenth century, the Aborigines of the New South Wales coast were rapidly being alienated from their land by Europeans. The sketches were executed by the artist in the early 1820s.
One of the features that distinguishes Lycett’s work from that
of other colonial artists working in Australia in the first decades
of European settlement is his diversity of style - the result of his frequent appropriation of elements from the work of other artists. If we compare Lycett’s work with that of George Evans, the surveyor, John Lewin, the ornithological draughtsman, John Heaviside Clark or Thomas Watling, we see that Lycett used ideas from all of these artists in the construction of his pictures.
One of the features that distinguishes Ross’s work from that of other contemporary artists working in Australia in the new millennium, is her ability to plunder our rich colonial past to create artworks of wit, lyricism and poignancy – all with a strong visual and political punch. In A view of New Holland, 2020, Ross appropriates two Lycett watercolours, “Aborigines Feeding from Beached Whales” and “Aborigines with Spears Attacking Europeans in a Rowing Boat” circa 1820 to demonstrate that Captain Cook uncovered to European eyes, a continent inhabited and peoples industrious.
Captain Cook’s gateway exploration and the failure by subsequent European officials and settlers, to understand Indigenous land use – as witnessed by early colonial artists- ultimately lead to the legal misstep of Governor Bourke’s 1835 implemented The Proclamation. A proclamation of a doctrine of Terra Nullius upon which British settlement was based, reinforcing the notion that the land belonged to no one prior to the British Crown taking possession of it. Aboriginal people therefore could not sell or assign the land, nor could an individual person acquire it, other than through distribution by the Crown.
Lycett recorded Terra Nullius to be untrue. Ross, through Lycett knows fundamentally it was never true and wrong.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Smith Trevorview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
TREVOR SMITH 59 Captain James Cook (Bust), 2020
A talented artist and curator Trevor Smith has become known for
his unique crochet sculptures. Having learnt from and shadowed his mother, a skilled craftswoman, Smith’s work reveals a lot about the passing of knowledge and human relationships. From retro-domestic appliances, classic cakes and feasts from the 50s, 60s and 70s, to iconic takes on Queen Victoria, Frida Kahlo and Dame Edna Everage, Smith weaves together histories and places them in the now.
Smith’s crocheted bust of Captain Cook embraces the iconic figure through a contemporary lens. His perception of Cook shifted several decades ago as the effect of his presence and impact on First Nations people was talked about more often. This new work was created with the understanding that there are different sides to every story.
In 1970, the last time there was a national focus on James Cook I was an eight-year-old in primary school. We were taught of what a great man he was, revered for his exploration work. We were not taught about the true impact on the Indigenous people. I now look at him very differently. We can’t change history, but we can look at it from alternative perspectives and in different ways.
— Trevor Smith, 2020
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Thompson Christianview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
DR. CHRISTIAN THOMPSON 63
Dr Christian Thompson AO is an Australian born contemporary artist whose work explores notions of identity, cultural hybridity and history. Formally trained as a sculptor, Thompson’s multidisciplinary practice engages mediums such as photography, video, sculpture, performance and sound. His work focuses on the exploration of identity, sexuality, gender, race and memory. In his live performances and conceptual portraits he inhabits a range of personas achieved through handcrafted costumes and carefully orchestrated poses and backdrops.
In 2010 Thompson made history when he became the first Aboriginal Australian to be admitted into the University of Oxford in its 900-year history. He is currently a research affiliate at the Pitt Rivers Museum, University of Oxford. Thompson holds a Doctorate of Philosophy (Fine Art), Trinity College, University of Oxford, United Kingdom, Master
of Theatre, Amsterdam School of Arts, Das Arts, The Netherlands, Masters of Fine Art (Sculpture) RMIT University and Honours (Sculpture) RMIT University, Melbourne, Australia and a Bachelor of Fine Art from the University of Southern Queensland, Australia. In 2018 he was awarded an Officer of the Order of Australia for distinguished service to the visual arts as a sculptor, photographer, video and performance artist, and as a role model for young Indigenous artists.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Youle Wayneview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
WAYNE YOULE 65 Things were going swimmingly until..., 2020
Wayne Youle has always gravitated towards the rumours and the tall tails that attach to the mythology of a person. This interest has seen him continually return to Captain Cook as a subject throughout the last two decades.
Youle’s perception and opinion of Cook changes every time he reads more, sees more and hears more about the man and his journeys. For this show, Youle has focused on Cook’s relationship to Australia. By looking at the actual words from Cook’s diary on the day he finally stepped foot on Aboriginal land, Youle explores the language of Cook.
The bluntness, naivety and entitled tone is strange and disturbing to me. The argument that it is a language and mentality of the time holds a lot less weight with me personally. In this work Cook plays the uninvited guest, as the title suggests things were going swimmingly until...
In this work, Youle has taken inspiration from Captain Cook’s diary
and matched the words with related symbols and shapes that reflect Youle’s own translation. The silhouettes tell the visual story of the
day in 1770 when Cook and the Endeavour made first contact with the Gweagal people. Withing the work, Youle has deconstructed the Union Jack, using its base units as the narrative building blocks. The image of the Endeavour with full sails is taken straight from the 50c piece (New Zealand currency). The musket is an exact tracing of what is said to be Cook’s actual musket and the sextant was one of the many tools that helped him “find his way”. The skeleton is a symbol of the end result. The skeleton wears a paper hat, a sailors hat. The arrow is almost comical and refers to the only items of apparent significance on first meeting (the fishing spears) and the incongruous retaliation of Cook towards the use of “sticks and stones”. The muscat blasts. The rest is history.
By providing a visual narrative, Youle offers a way of retelling history, distilling its elements into a new order. This translation from written word to silhouette and symbol encourages a recalibration of the narrative as told by Cook.
Born in Wellington, New Zealand, Wayne Youle’s diverse practice is underpinned by his bicultural heritage (Nga Puhi, Ngati Whakaeke, Ngati Pakeha) and background studies in design. Working comfortably across a wide variety of media, Youle’s works in collage, painting, mural or sculpture, reflect a fascination with the visual language of popular culture, and a questioning of how history and identity are written.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Nabulumo Namarinjmak Paulview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
PAUL NABULUMO NAMARINJMAK 69 Djung, 2018
Ngalyod at Kubumi, 2019
Kuninjku artist Paul Nabulumo, born in 1971, is the son of acclaimed artist, Mick Kubarkku (1925 – 2008). Kubarkku was known for his painting of the moon, sun and stars which reference the djang site Dirdbim on his country. Nabulumo has continued to paint this iconic imagery handed down from his father. Other common subjects of his work are the interconnecting waterholes at Kubumi, Ngalyod (rainbow serpent), mimih and yawkyawk spirits.
Elements of his father’s expression remain in Nabulumo’s work and can be seen particularly in the faces of his mimih and yawkyawk spirit carvings and paintings.
Nabulumo however has developed his own aesthetic. There is an elegance to his rarrk and thoughtful tonality to his palette that is his own. Nabulumo’s use of black heavily contrasts the fine rarrk within his designs, creating a visually arresting rhythm with his paintings.
In Nabulumo’s bark painting shown here, the bones “Djulng’’ are the bones of the first ancestors beings in their human and spiritual forms. There are several djulng sites on Kuninjku country where bones rest in rock shelters.
In the large Lorrkon, Nabulumo depicts two Ngalyod at the site Kubumi on Kulmarru clan country. Ngalyod is female generative being associated with the storms and the tempestuous weather of the wet season. Kubumi is a series of deep waterholes that are exposed when the Mann River retreats in the Dry Season. They are connected by underground tunnels that Ngalyod created and where she rests today. The site is owned jointly by the Kurulk, Kulmarru and Bordoh clans.
The two figures run the length of this impressive work, never meeting. The viewer must move around Nabulumo’s work to explore the relationship between the figures. In this work the artists depicts Ngalyod’s forked tongue, sharp teeth, amorphous body and fin-like tail, referencing the freshwater bodies in which she inhabits and guards.
When appreciating these works, it is important to reflect on the achievement of Kuninjku people who have maintained their cultural systems and language despite sustained waves colonisation. It is often taken for granted, but the continuity of Kuninjku Law and culture is an extraordinary feat and still something people fight for every day in the face of government policies that erode agency and undermine basic human rights, and sustained social and economic pressures. The knowledge embedded in Nabulumo’s work is complex and enduring, and should be known and valued by the nation.
Perhaps most interestingly, many remote Indigenous communities are largely unaware or unconcerned with the 250th Anniversary of Captain Cook’s landing, with other periods of non-Indigenous contact, including the Macassans and later European arrivals, being more relevant to their lives.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Henderson Derekview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
DEREK HENDERSON 75 Untitled, 2020
Having spent twenty years living and working in New York, London and Los Angeles, Derek Henderson is a celebrated practitioner in both Australia and New Zealand. His portfolio is diverse, from expansive landscapes, luring portraiture, to fashion photography that has graced the covers of Vogue, Henderson has become known for his clean and detailed imagery. His versatile approach renders his human subjects open and vulnerable, while his depictions of landscape and still life contain an air of distance and nostalgia.
His independent bodies of work often connect back to his New Zealand roots, capturing Maori teenagers, the Waitoa Slaughter House and his mother’s hometown of Mercer. It is through these versatile works that Henderson casts light on the natural landscape and its social makeup. Henderson has touched on the omnipresence of colonial impact on the pacific experience through bodies of work such Paradise Lost, 2014.
I have done this work in the style of what I think still life photography would have been like if there had been photography in 1769. It is a depiction of what happened on the first few days that Cook and his crew had contact with the local Maori people of New Zealand. It was a disastrous encounter for Maori, on the first two occasions Maori lost their lives when Cooks men fired upon them.
It was the age of discovery for Europeans so they claimed those lands for their own, with disregard to the local populations.
It’s an incredibly complicated situation, but I think it has and still is affecting the people whose lands were taken from them in the name of imperialism. I think we need programs in place to right these wrongs, Indigenous People all around the world should be supported and respected citizens of their own countries.
- Derek Henderson
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Hanks Rewview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
REW HANKS 77 Banks, Which one is Mine?, 2013
In Banks, Which one is Mine? we quickly recognise the faces of both Captain Cook and Joseph Banks. Both men wear the unamused- expressions by which we have learned to identify ‘great men’, but what are they doing with golf clubs? And then the details start to register— cane toads abound around their feet, one couple even fornicating; St Andrews clubhouse, mecca of contemporary golf, nestles gracefully in the middle distance; kangaroos forage on the course; and cattle graze near a windmill behind a picket fence.
This is bizarre, but as a smile forms on the viewer’s face, so also does
a question start to present itself about the story here. Based on a well-known golfing image, L.F. Abbott’s (1790) The Blackheath Golfer which became the first golfing poster produced, it depicts a dandified gentleman out for a game of golf attended by his manservant carrying
a bundle of clubs. The original image contains a grand country house, the windmill and the picket fence. Hanks reproduces the composition exactly but maps Cook’s face (the one familiar from our history books, Nathaniel Dance’s 1775 portrait) on to the golfing dandy and the equally recognisable image of Banks’ face (from Joshua Reynolds’ 1773 portrait) on to his manservant. The grand country house becomes St Andrews and other smaller details are added to invite closer inspection—note Cook’s belt-buckle.
— Elin Howe
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Ljubicic Alesandro view full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
ALESANDRO LJUBICIC 95 Banksia Integrifolia also known as Coast Banksia grows
along the east coast of Australia, hence the name, 2020
Never had so great a number of completely unknown plants been harvested from the one location. To the European way of thinking, the sheer volume of strange, unique and potentially useful plant specimens collected by Sir Joseph Banks and Dr Daniel Solander, at the place that became known as Botany Bay, was a one of the founding reasons for Cooks Endeavour voyage.
They came to pick flowers. To press and dry those specimens between sheets of paper. To draw, paint, identify and describe the natural world. They chartered the mechanics of the natural world, the how of things, yet as with much scientific exploration they held an almost complete disregard to the broader consequences of those systems of knowing.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Rambler Kathleen Nanima view full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
98
KATHLEEN NANIMA RAMBLER 99 My Father’s Country, 2020
Kathleen Nanima Rambler creates figurative landscape paintings of her father and mother’s country near Barrow Creek, 280 km north of Alice Springs. Having grown up in the area Rambler’s work is nostalgic, a way for her to connect and remember home. As a teenager, she would often stay with her Aunty who was a well-established artist and assist her to paint.
Part of the community of Ampilatwatja, Rambler creates Arreth, paintings of ‘strong bush medicine’. The artistic community of Ampilatwatja made a conscious decision not to paint Altyerr ‘dreaming stories’. Their intention is to pay homage to the continuing use of traditional bush medicine and demonstrate the veritable source of life that the land provides.
Rambler’s work is recognisably detailed created through fine dot work. The vivid colours are inspired by the change of light and sky across the land. Her new works for Navigating Cook simply bare the same title, My Father’s Country. Together they reflect upon the importance of land, one that has sustained the Alyawarr people of Ampilatwatja for generations.
“This is the painting of my Father’s country, where I grew up.
After the rain the green comes, from all the fresh grass and plants. It’s a nice peaceful happy time after rain.”
— Kathleen Nanima Rambler
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Dyson Lucyview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
LUCY DYSON 103 Death on Hawaii, 2020
Lucy Dyson is a Berlin-based Australian artist and animator who has worked with musicians and filmmakers from Beyoncé to Paul Kelly. Her intricate collages are recognised for their compelling and unique narratives, often underpinned with a light-hearted and colourful sense of humour.
As noted by its title, Dyson’s work Death on Hawaii (2020) responds to Cook’s death on February 14th in 1779. The Hawaiians initially welcomed Cook and his crewmen, but as history books tell the Europeans outstayed their welcome and the trip ended violently.
John Webber, the official voyage artist, depicted this scene with Cook positioned with his back to the Hawaiians, heroically signalling to the crewmen to cease fire. Artist John Cleveley’s depiction, based on first- hand accounts and sketches from his brother, a carpenter on board the voyage, comparably shows Cook fighting for his life, a rifle in hand.
In Dyson’s recreation, Cook is out-numbered by spears. Readily sourcing material from second-hand books and vintage magazines
she says: “Collage easily enters the surreal through the endless combinations of seemingly random images to create new connections, just like in our dreams, and I don’t think I’ll ever tire of exploring these mysterious and often playful – sometimes witty – combinations.” Her work points to the complexity in deciphering fact from fiction and how narratives and perceptions can shift through shuffling a composition or adding a magenta sunset.
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Shaw Alexanderview full entry
Reference: see NAVIGATING COOK
APRIL 26TH TO MAY 23RD 2020, Essay by John McDonald, foreword by
Michael Reid OAM & Toby Meagher, and forewrord by Derek McDonnell & Anne McCormick:
SHAW, Alexander.
A Catalogue of the Different Specimens of Cloth collected in the three voyages of Captain Cook... Quarto (220 x 164 mm.), pp [8, comprising title and three leaves
of descriptions], with 56 tapa cloth specimens interleaved between
or tipped on 30 blank leaves, with sample numbers in manuscript 1-39; fine copy in its original publisher’s binding of sheep-backed marbled boards, preserved in a morocco- backed box.
London, Alexander Shaw, 1787.
Exceptional artefact from Cook’s Pacific voyages: with 56 specimens of native tapa cloth including a suite of 17 extra specimens, most of them Hawaiian.
ALEXANDER SHAW
Exceptional artefact from Cook’s Pacific voyages: with 56 specimens of native tapa cloth including a suite of 17 extra specimens, most of them Hawaiian, 1787
An exceptional and very rare artefact arising from the three voyages of James Cook in the Pacific, Alexander Shaw’s Catalogue has long been regarded as one of the rarest and most desirable of all Pacific voyage books, in which the printed text is slender compared with its large cloth specimens: samples of indigenous tapa cloth collected by Cook’s men, at times of first or very early contact with native peoples; Tahiti and the Hawaiian islands are amply represented. This is an example of one of very few copies to contain an additional series of 17 specimens, mostly of Hawaiian manufacture.
Tapa is made from the bark of the paper mulberry and breadfruit trees, specially prepared and pounded with mallets to form continuous sheets. The rich and earthy decorations are created from dyes extracted from various roots, berries, leaves and flowers and the patterns, quality and size of tapa reflect the social status and prestige of their original owners. The material was irresistible to Cook’s men who described its manufacture in some detail, a process likewise recorded by the voyage artists Sydney Parkinson and John Webber.
The book was published in 1787, some seven years after the return of the Resolution and Discovery at the conclusion of the third voyage. The earliest copies issued typically contain just 39 samples, as listed by Shaw in the preface. later, some copies had additional cloth specimens added, probably in response to new supplies of tapa that became available, likely from the sale of the collections of Sir Ashton Lever and David Samwell (the latter surgeon’s mate of the Discovery during the third voyage, and author of the equally rare Narrative of the Death of Captain James Cook, published a year before this). This very desirable expanded example includes 17 additional cloth samples, bringing the total to 56 specimens, and may have been prepared in 1805-1806 (based on dated watermarks of some blank leaves). Most significantly, most of these additional specimens were collected by Cook’s men and officers in Hawaii. There were relatively few Hawaiian specimens in the copies first issued.
The production of this book reflects the great curiosity aroused by tapa, a fascination that
drove competition between collectors of ‘artificial curiosities’ and generated an active market for the sheets brought home by Cook’s men. The preface
of the book contains descriptions of bark cloth manufacture by Cook, Anderson, Forster and an anonymous officer titled ‘one of the navigators’ and is followed by the list of the specimens compiled by Shaw. The list is indeed rich in fascinating details; for example, we learn that the various uses of the tapa: ‘wore (sic) by the people in the rainy season’ or ‘used at the human sacrifice’. Some of the notes in the list are longer, and doubtless arise from tales told by the mariners who collected the tapa in the first place (as boasted on the title page).
The Shaw Catalogue is of great significance as a repository of unique original tapa, but it also speaks
of the time when Cook’s sailors were spreading their stories of the alluring South Seas, while drawing room chatter throughout the land luxuriated in descriptions of the new exotic. The publication forms a tangible
link between these narratives, the indigenous cultures of the South Pacific and Hawaiian Islands, the myriad personal and trading relationships that developed between the islanders and mariners, and the genteel world of gentleman collectors and their cabinets of curiosities. Recently the National Library of Australia has mounted a splendid exhibition, “In Cook’s Wake: Tapa Treasures from the Pacific”, the catalogue
for which contains important essays on Tapa cloth and specifically on Shaw’s Catalogue by Nat Williams and Erica Ryan of the Library; Erica Ryan has made considerable progress in establishing many of the details of the manner in which Shaw’s book was published.
Beddie, 3640; Forbes, ‘Hawaiian National Bibliography’, 139; Hawaii One Hundred, 7; Holmes, 67; not in the catalogue of the Hill collection; Donald Kerr, Census
of Alexander Shaw’s Catalogue of Different Specimens of Cloth Collected in the Three Voyages of Captain Cook to the Southern Hemisphere, 1787’ (University of Otago, dunedin, 2015).
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Stone Sarahview full entry
Reference:
Album of forty fine watercolours by the artist of the Leverian Museum signing under her married name, in striking original condition.
England: partly dating from the 1790s, assembled as an album circa 1825-1830.
Quarto album, 40 original watercolours tipped onto coloured pages, most signed “Sarah Smith”, ornately gilt-printed title-page with added hand-painted monogram in gilt reading “JLS & SS”; the binding of an embossed design of maroon roan, with central classical motif surrounded by an ornate floral pattern, signed by the manufacturer Remnant & Edwards with gilt- stamped “Scrap Book” lettered on the spine.
An intimate family album with beautiful original watercolours by Sarah Stone.
SARAH STONE
An Intimate Family Album with beautiful Original Watercolours, 1790’s
An exquisite unrecorded album of watercolours by Sarah Stone, the artist who made such a decisive contribution to the early natural history of the Pacific and Australia, particularly by her work recording the diverse objects in the Leverian Musuem. The album is a testament to Stone’s range and skill, and is likely to be a key that will help unlock more details of her later career, the least known period of her work as an artist: the great majority of works in the album are signed with her married name and therefore date from after her 1789 marriage. It is a fascinating and enigmatic assemblage, with a clear provenance to her family, dominated by a series of Stone’s signature depictions of sea- life, exotic birds and artificial curiosities, including a fine image of the mysterious “Tahitian Chief Mourner” acquired by Captain Cook.
There are six wonderful depictions of parrots, including what seems certain to be a slightly ragged Rainbow Lorikeet (still recognisable despite the vagaries of taxidermy in this era). The wide variety of subjects encompasses religious icons, bucolic barnyard scenes and a number of rural and coastal scenes that appear to show holidayers. The latter images, which frequently feature a young couple, suggest that this may be a very personal selection: it is difficult not to speculate that some of the scenes in England and the highlands of Scotland (or perhaps Switzerland), may in fact be autobiographical. The volume can be dated on its very specific binding to the late 1820s, around the same time that her husband John Langdale Smith was afflicted by chronic illness, dying in 1827. Stone has added the monogram “JLS & SS” to the title-page, surely indicating that the album was meant as a memento, or perhaps a gift, possibly for the couple’s only child, Henry. Sarah Stone (c. 1760-1844) was a teenager when she was employed as an artist by Sir Ashton Lever, the owner of the greatest eighteenth-century collection of natural history and objects of curiosity. She “spent hours in Sir Ashton Lever’s museum, faithfully drawing and painting mounted birds, insects, mammals, fishes, lizards, fossils, minerals, shells and coral from all
over the world, as well as ethnographical artefacts brought back from exploratory voyages, including those of Captain Cook” (Jackson, Sarah Stone, p. 9). Such is Stone’s connection to Cook’s voyages that it has tended to obscure her profound importance for the early natural history of Australia, despite her central role in the illustration of First Fleet surgeon John White’s Journal of a Voyage to New South Wales (1790).
Although the album itself dates from the 1820s, it is clear that many of the watercolours are much earlier. Indeed, the fact that the works are signed Smith (not Stone), together with the condition of some of the birds, is the closest thing to a time-stamp that could be imagined on an undated watercolour: after 1789 because of the change in her name, but before the end of the 1790s because their appearance broadly matches those in other works of this pioneering era, such as the awkwardly posed birds in the Museum Leverianum (1796).
Of the six exotic parrots, one has been firmly identified as an African Grey, Psittacus erithacus (Jackson, p. 21), two are certain to be Indonesian species, and one is considered to be a (probably juvenile) Rainbow Lorikeet. As yet, the precise nature of the other two remains unknown, although one could feasibly be a Rosella. A fourth watercolour depicts three beautifully-rendered seabirds, two gulls and a tern, on a rocky outcrop overlooking a bay.
The album also includes an uncommonly fine depiction of seven exotic shells, dominated by a large Charonia, as well as a fine Cone with purple striations and another with an opalescent green. Another familiar inclusion in the Leverian were sharks (and their teeth), which must explain why the present album includes a fine example of a shark, very similar to one depicted
in Stone’s so-called Sketchbook I (see Kaeppler’s Holophusicon, p. 72).
The last of the definitively Leverian works is an exceptionally important depiction of the Tahitian Chief Mourner, the religious dress of tapa, shells
and feathers which fascinated Cook, who personally acquired the examples that ended up in the Museum. Stone’s depiction here is not unlike another of
her watercolours now in the Bishop Museum (see Kaeppler, Artificial Curiosities, p. 124-5), but even a cursory comparison makes it quite clear that two distinct outfits are depicted; in short, it is possible that the sketch depicts the “lost” example of the dress from the second voyage, at one point recorded in the Leverian collection.
Provenance: Gilt monogram “JLS & SS” (for John Langdale Smith and Sarah Smith), the embossed binding manufactured by Remnant & Edwards in the late 1820s. By the twentieth century the album was in the possession of Elizabeth Bateman, who worked at Hall’s Bookshop in Royal Tunbridge Wells, Kent, from 1955 until her death in 1983, and with her descendants until recently sold.
Christine E. Jackson, Sarah Stone: Natural Curiosities from the New World; Adrienne Kaeppler, Holophusicon: The Leverian Museum; [King & Lochee], Catalogue of the Leverian Museum (London, 1806); [Leverian]. A Companion to the Museum, (late Sir Ashton Lever’s) (London, 1790).
Publishing details: Hordern House and Michael Reid, 2020. Online catalogue. Navigating Cook is held at Michael Reid Sydney in conjunction with Hordern House, rare book dealers. Anne McCormick and Derek McDonnell, the directors of Hordern House are among the world’s foremost authorities in the books, maps, globes and materials associated with early exploration and travel. The scholarly depth and material riches to be uncovered by Hordern House within Navigating Cook anchor the genesis of the Cook myth. Significant contemporary Australian and New Zealand Artists then clearly chart the changing attitudes to Cook’s first contact.
Beauchamp Robert Proctor (1819-1889) view full entry
Reference: see Australiana magazine, May 2020 vol 42 no 2, Hunting for Mr Beauchamp by John Wade. pp 5-7. ‘Among many contributions to the first "Virtual Show and Tell" was a portrait of a young boy. The owner asked who the artist might be, so the compilers flicked it to me to ask whom we should consult. It turned out to be a fascinating research project, and I want to share the process with readers.’
Publishing details: Australiana magazine, May 2020
Dowling Richard cabinet makerview full entry
Reference: see Australiana magazine, May 2020 vol 42 no 2, pp 38-58, Richard Dowling, the elusive
cabinetmaker of O’Brien’s Bridge,
Van Diemen’s Land, by David Bedford.
David Bedford has researched the life and work of Tasmanian cabinetmaker Richard Dowling (c 1820/1822–1867), little documented till now. He presents new discoveries about Dowling’s life and suggests why Dowling’s story has been so elusive. Evidence has emerged, and examples of his work found, which show that Dowling, previously known only for parquetry writing slopes bearing his label, also made furniture. Dr Bedford provides technical descriptions of Dowling’s workmanship and identifies most of the timbers that Dowling used. By examining labelled examples, he identifies the characteristics of Dowling’s style, showing how these stylistic characteristics can be used to assess if unlabelled pieces can be credibly attributed to Dowling or not.

Publishing details: Australiana magazine, May 2020
convict artistsview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.

Publishing details: Australiana magazine, May 2020
Wainewright Thomas Griffiths view full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Thomas Griffiths Wainewright studied under two of the best-known artists
of the day, Thomas Phillips and John Linnell, and was taught by the great classical scholar Charles Burney. He
was convicted of forging documents
to avail himself of £5,000 left to him
in trust by his grandfather, and was suspected of murdering three relatives
for financial gain but never charged. He was a talented artist and writer. In 1813, when just 18, he painted a portrait of Lord Byron, which is said to capture the sitter’s sensuality better than any other (plate 1). Wainewright was sentenced to transportation for life, and, on arriving in Van Diemen’s Land, was immediately put to work on the Chain Gang. His delicate pencil and watercolour portraits of the first colonial citizens are his legacy. They are effortless informal studies which combine a striking likeness with a sensitive evocation of character... Wainewright also painted what is said to depict “The Reunion of Eros and Psyche” from Apuleius’s Golden Ass (plate 30) As a follower of Romanticism, Wainewright is expressing classical literature in art, but in his own highly skilled
style, portraying the eroticism rare in Australian colonial art. The “elongated mannerisms and neo-classical lines” confirm his links to Swiss painter Henry Fuseli (1741–1825) who spent much of his later life in England.



Publishing details: Australiana magazine, May 2020
Greenway Francisview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Francis Greenway was working as
an architect in his family’s business when arrested for forging a document. He was found guilty and sentenced to death, commuted to transportation
for 14 years. He landed in Sydney
in 1814 and became Australia’s first Colonial Architect. His many notable works include Hyde Park Barracks, St Matthew’s Church Windsor, St James’ Church Sydney and the Courthouse at Windsor. In 1812 he recorded his time in Newgate Prison awaiting sentence (plate 2).


Publishing details: Australiana magazine, May 2020
Bull Knudview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Knud Geelmuyden Bull was born
into a respectable Norwegian family,
his brother was Ole Bull, the famous violinist and composer. He trained in art in Copenhagen, and under the famous Norwegian artist, Johan Christian Claussen Dahl (known as J C Dahl)
in Dresden, Germany. Convicted of forgery in London in 1845, he was transported for 14 years, arriving in Norfolk Island and being transferred to Van Diemen’s Land. Bull kept a sketchbook which recorded his journey aboard the convict transport John Calvin and drew the bird life encountered. In 1846 he sketched the Wandering Albatross. With a wingspan of up to 12 feet, some have been known to circumnavigate the Southern Ocean three times in one year, covering 120,000 km (plate 3). He painted in Tasmania, Victoria, South Australia and NSW. His specialities: delightful landscapes of melodramatic, Nordic mood, vivid colour, and portraits. He is best remembered for his views of Hobart Town.
Publishing details: Australiana magazine, May 2020
Lycett Josephview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
In 1827 Joseph Lycett painted a panoramic view of Sydney (plate 4). A master forger, his skill is reflected
in the detail of his painted landscapes. Transported for 14 years, he arrived in Sydney in 1814. He illustrated the important book, Views in Australia and the “Lycett Album”, decorated the Dixon and Macquarie chests and the Riley cabinet, painted watercolour botanicals, and painted views of Newcastle in oils – a major contribution. On returning to England, fearing that he was going to be arrested again, he
cut his throat, and while recovering in hospital, tore open the wound and died.
In 1855, Bull produced a vigorous, light-filled, sweeping view of Hobart (plate 5), showing the busy harbour and thriving town dominated by Mount Wellington and the Turneresque clouds above.
Publishing details: Australiana magazine, May 2020
Browne Richardview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Richard Browne was convicted in Dublin for an unspecified crime, transported for seven years and arrived in Sydney. In 1812 he painted the White and Black Cockatoos (plate
6). This work captures the energy and character of the birds, and possibly carries the “Black versus White” message – two cultures pointing in opposite directions and so far apart. Nothing
is known of Browne’s background or training, however the painting skill shown suggests a sound understanding of natural history. He is best known for illustrating the Skottowe Manuscript.
Publishing details: Australiana magazine, May 2020
Watling Thomasview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
About 1793, Thomas Watling painted the sinuous goanna (plate 7). Watling was transported for 14 years for forging. On arrival in Sydney he was assigned
to Chief Surgeon John White to produce natural history drawings, and later to Judge-Advocate David Collins, providing illustrations for Collins’ Account of the English Colony in NSW.
John Doody was transported for seven years for theft. After arriving in Sydney, he accompanied Captain William Paterson to Norfolk Island. Nothing
is known of his art training. About 1792 he recorded the Norfolk Island Palm Lily, one of a large set of strong and bold watercolours of the flora of the island (plate 8). These are his only known works.
Publishing details: Australiana magazine, May 2020
Doyle Andrewview full entry
Reference: see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Andrew Doyle painted a woody pear
c 1820 (plate 9). In Ireland he
had studied art and served his apprenticeship as a calico printer. Found in possession of a watermark of the Bank of Ireland used for forging bank notes, he was transported for life, arriving in Sydney in 1803. He became a successful pastoralist.

Publishing details: Australiana magazine, May 2020
Bock Thomasview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
In 1842 Thomas Bock beautifully portrayed Mithina (Matthina) (plate 10). More tears have been shed in front of this painting than any other
in the history of Australian art. It has become the symbol of the suffering of Tasmania’s indigenous people. Governor Sir John and Lady Jane Franklin adopted Mithina in 1839 after her parents had died. She lived at Government House
for five years as a companion for their daughter Eleanor. When Franklin was recalled to England in 1843, Mithina, aged 8, was returned to the Queen’s Orphan School in Hobart. Aged 9, she was taken back to Flinders Island, her birthplace. Then, back to the Orphanage, and finally to the aboriginal settlement at Oyster Cove where she died in 1852, at age 17, by drowning while drunk. This beautiful little girl was caught between two cultures.
Bock had been transported for 14 years for administering a “decoction of certain herbs ... with the intent
to cause a miscarriage”. Prior to his conviction, he had an engraving business in Birmingham. A fine artist, he is best known for his portraits of Indigenous people and settlers... About the 1840s Bock painted a reclining nude, thought to be his wife Mary Ann (plate 29.

Publishing details: Australiana magazine, May 2020
Rodius Charlesview full entry
Reference: see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Charles Rodius was transported to Sydney for seven years for theft. He was a talented painter, draughtsman, lithographer, architect and singer. His accurate, sympathetic and
beautiful sketched portraits of NSW indigenous leaders and their wives are his greatest legacy. The hopelessness, confusion, distress and anger of their expressions tells the story of the ruthless appropriation of lands and destruction of their culture by European settlers. In 1834 he sketched King Jack Waterman for Betsy Abell née Balcombe, the young woman who befriended Napoleon on St Helena (plate 11). Rodius recorded the first Government House in Sydney in 1836, considered the most accurate image of this building which was added to piecemeal over 50 years and no longer exists (plate 16).
Publishing details: Australiana magazine, May 2020
Read Richard Snrview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Richard Read Senior was transported for 14 years for possessing forged notes. He was Sydney’s first professional portrait painter. In 1819 he produced a miniature portrait of Governor Macquarie (plate 12). Macquarie played a leading role in the social, economic, and architectural development of the colony.
Publishing details: Australiana magazine, May 2020
Backler Josephview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
In c 1850 Joseph Backler portrayed the young Queen Victoria (plate 14). Backler was sentenced to death for forgery, commuted to transportation for life. Well educated, he was apprenticed to his father, a reputable painter on glass. In Sydney he continued to offend but eventually settled down and travelled around NSW and Queensland painting competent portraits and landscapes.
Publishing details: Australiana magazine, May 2020
Browne Thomasview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Thomas Browne painted the Fremantle Prison in 1866 (plate 15). An architect, surveyor and civil engineer, he was transported to Perth for 10 years for forgery. Later, found guilty of fraud, he committed suicide by taking strychnine. His dying words were said to be, “I wish to lay against my child”. His daughter had died aged six months.
Publishing details: Australiana magazine, May 2020
Peacock George Edwardsview full entry
Reference: see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
George Edwards Peacock, the second son of the respected Vicar of Sedbergh and a solicitor was sentenced to death for forgery, commuted to transportation for life. He had forged a Power of Attorney for transfer of stock which belonged to his brother. Peacock, who arrived in Sydney, is best known for his views of Sydney Harbour which depict the moods of the harbour. In 1850 he drew the celebrations marking the start of construction of NSW’s first rail line from Sydney to Parramatta (plate 17).
Publishing details: Australiana magazine, May 2020
Strange Frederickview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
In 1857 Frederick Strange painted the Tyson & Grubb Sawmill on the Piper’s River at Underwood in Tasmania, built to take advantage of the high timber prices, due to a timber shortage from the rapid growth of Melbourne (plate 18). Tyson harvested his heavily timbered property. He imported the latest plant, dammed upstream and moved the water via timber fluming for waterpower, built
a 20 km wooden tramway to transport the timber to the coast, imported horses trained to work on rails, and provided housing for his workforce. The horses would haul the timber up the hills and along the flats, then be detached for the downhill, when the tram carts would freewheel with just a driver and a friction brake. Strange was transported for life for a series of burglaries. He arrived in Hobart and moved to Launceston.
Publishing details: Australiana magazine, May 2020
Stevens Meshach view full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Meshach Stevens was transported for life for stealing £5 from a dwelling place and arrived in Hobart. In the early 1800s it was said to be too dangerous to take
a small boat across the Derwent because of the large number of whales. From
the 1820s to the 1840s the sale of whale oil, used for illumination and lubrication, was a major source of income for the colony. Painted c 1830, this is the only known painting by Stevens (plate 19). It is a competent copy of an aquatint after William John Huggins which depicted Northern Hemisphere whaling. The Van Diemen’s Land whaling industry was at its height in the 1840s, and colonial vessels were venturing into polar waters.
Publishing details: Australiana magazine, May 2020
Dowling William Paulview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
William Paul Dowling was transported for life for sedition. A multiple prize winner at the Art School of the Dublin Society, he travelled to England and became Secretary of the Davis Club, an Irish revolutionary society, and joined the radical Chartist movement. In 1853 he drew the Jubilee Festival Celebrations in Hobart to mark the Cessation of Transportation (plate 20). In Australia he worked as a portrait painter and later opened a photographic studio, his pastel portraiture showing an extraordinary skill in working over a photographic base.
Publishing details: Australiana magazine, May 2020
Bult Edmund Edgarview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Edmund Edgar Bult was sentenced
to death for robbery but saved from
the gallows by a formal request for clemency from the Duke of York, next in line to the throne of England. He
was subsequently transported for life, arriving in Sydney. His specialty was miniature portraiture and he was also
a fine engraver, having trained under three of England’s leading engravers. In 1835 he delightfully painted Mary Ann Turner, displaying the dress, coiffure and jewellery typical for the time (plate 24).
Publishing details: Australiana magazine, May 2020
Gould William Buelowview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
In 1840 William Buelow Gould recorded the start of a cockfight (plate 25). Cockfighting was the major sport and mode of gambling in the colony. Gould, a trained artist was transported for seven years for stealing clothing, arriving in Hobart, where he continued to offend, being before the magistrates on several occasions. He was assigned to Dr James Scott to record Tasmanian Flora, and then to Dr William de Little to produce studies of flora, fish and shellfish. Once free he earned his living painting mainly still life oils of flowers and fruit, game birds and rabbits... In 1851 William Gould painted a decorative still life of fruit and flowers (plate 27). Such paintings by Gould decorated many of the houses of Hobart.
Publishing details: Australiana magazine, May 2020
Costantini Charles Henry Theodore view full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Charles Henry Theodore Costantini was sentenced to death for larceny
in a dwelling place, commuted to transportation for life, and arrived
in Sydney. He was pardoned by Governor Brisbane at the request of visiting French navigator Hyacynthe de Bougainville and eventually returned to England. He was later sentenced again to transportation for seven years for theft, this time sent to Van Diemen’s Land. He is best known for his naïve portraits and landscapes, and finely painted trompes l'oeil (plate 26).
Publishing details: Australiana magazine, May 2020
Walsh Jamesview full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
Transportation to Western Australia lasted till 1868, longer than in the eastern colonies. James Walsh was transported for 15 years for forging an order for silver plate, arriving in Perth. After being released he offended again, in Perth, and was sentenced to a further eight years. He painted views of Perth, and images which depicted the way of life of the local indigenous people. He decorated his cell walls in Fremantle Gaol with frescoes derived from ancient, renaissance and biblical subjects (plate 28).
Publishing details: Australiana magazine, May 2020
Jorgenson Jorgen view full entry
Reference: see see Australiana magazine, May 2020 vol 42 no 2, pp 8-20, The Convict Artists by Robert Stevens. Victorian collector and president of the Victorian branch Robert Stevens distils his passion for the works of convict artists in Australia, many of whom were transported for adapting their skills to forgery. A wide variety of works from public and private collections illustrate the range of their interests.
Extract:
The Icelandic convict, sailor, revolutionary and author Jorgen Jorgenson was sentenced to transportation for life and arrived in Van Diemen’s Land in 1826. Prior to his conviction he portrayed “An Incident at the Icelandic Ball” c 1825, where a society lady has her wig swept off her head, caught on the chandelier, while dancing – revealing all (plate 32).
Publishing details: Australiana magazine, May 2020
Keeley Jimview full entry
Reference: Melbourne Today, as seen by Jim Keeley, and revealed to Fred Le Roy. 1942.
[’This unique handmade book of original satirical cartoons was created in Melbourne in the latter half of 1942, after the introduction of rationing of food, clothing, petrol, tobacco and other goods in June that year. The city was also at this time a temporary home to thousands of American servicemen on leave. As a group, the cartoons give us a fully contemporary first-hand account of Melbourne in wartime. They comment on rationing and austerity meals, sexual relations between American GI’s and Australian women, and Queer culture. They also make amusing observations on various aspects of daily life such as protective sandbags in the streets, public transport, and violence.
The calibre of the sketches leaves little room for doubt that Jim Keeley, the book’s creator, was a professional commercial artist. It is quite possible he was an American serviceman himself, since the GI presence in Melbourne is a linking theme: the collection is bookended by an opening cartoon depicting a flirtation on a Melbourne street between a “Boy from Alabama” and a “Girl from Gundagai”, and a closing sketch of the same couple wheeling a pram-load of babies.’]
Publishing details: Handmade artist’s book, 215 x 170 mm, stiff card covers with manuscript title to front, original pink ribbon ties, tracing paper double endpapers, verso of first front-endpaper with manuscript dedication ‘To “Sport”, Wishing you a very happy 1943. Jim K.’, [12] pages of thin card, each with a full-page sketch in ink and wash with an accompanying humorous caption; the sketches satirise various aspects of life in Melbourne during wartime; all are signed in the image ‘Jim K.’; condition is superb throughout. With Douglas Stewart Fine Books, May, 2020.
Ref: 1000
Ngura Yannima Pikarli Tommy Watson Ngayuku view full entry
Reference: My Country (special edition, with original painting).
Translation into French by Flore Gregorini. ‘This special presentation of Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country, authored by Ken McGregor and Marie Geissler, translated into French by Flore Gregorini and published by Macmillan, has been compiled by Ken McGregor. It is limited to 40 copies. Each copy, consisting of 2 units presented together in a slip-case, contains the original publication with a signed portrait of the artist and this explanatory colophon tipped in. A second component contains a unique original painting by the artist together with a signed photograph of the artist creating the work. The photographic portraits are by Ken McGregor. The book-binding is by David Pool with the assistance of Rod Eastgate of Jarman the Picture Framer and Eastgate and Holst. Copy No. 25/40′. (colophon)
This monograph presents the spectacular painting of a master colourist. A Pitjantjatjara elder who maintains his home and studio in Alice Springs, the artist still travels extensively across his ‘country’ to fulfil traditional obligations.
Quarto, white lettered purple buckram, illustrated endpapers, pp 248, extensively illustrated, text in English and French; the original painting and signed photograph are presented in a black buckram portfolio; both the book and portfolio are housed in a buckram slipcase.


Publishing details: Melbourne : Macmillan, 2014.
Ref: 1000
Watson Tommy see Ngura Yannima Pikarli Tommy Watson Ngayuku view full entry
Reference: see My Country (special edition, with original painting).
Translation into French by Flore Gregorini. ‘This special presentation of Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country, authored by Ken McGregor and Marie Geissler, translated into French by Flore Gregorini and published by Macmillan, has been compiled by Ken McGregor. It is limited to 40 copies. Each copy, consisting of 2 units presented together in a slip-case, contains the original publication with a signed portrait of the artist and this explanatory colophon tipped in. A second component contains a unique original painting by the artist together with a signed photograph of the artist creating the work. The photographic portraits are by Ken McGregor. The book-binding is by David Pool with the assistance of Rod Eastgate of Jarman the Picture Framer and Eastgate and Holst. Copy No. 25/40′. (colophon)
This monograph presents the spectacular painting of a master colourist. A Pitjantjatjara elder who maintains his home and studio in Alice Springs, the artist still travels extensively across his ‘country’ to fulfil traditional obligations.
Quarto, white lettered purple buckram, illustrated endpapers, pp 248, extensively illustrated, text in English and French; the original painting and signed photograph are presented in a black buckram portfolio; both the book and portfolio are housed in a buckram slipcase.


Publishing details: Melbourne : Macmillan, 2014.
Gollings Johnview full entry
Reference: John Gollings : the history of the built world
The first major survey of Gollings’ photographic practice entitled ‘John Gollings : the history of the built world’ was curated by Stephen Zagala and exhibited at Monash Gallery of Art, December 2017 – March 2018.
Publishing details: Melbourne : Monash Gallery of Art, 2019. Quarto, silver-lettered wrappers, pp. 60, illustrated.
Ref: 1000
Williams Rhysview full entry
Reference: KENDALL, Henry (1839 - 1882)
Rose Lorraine : and other poems
Illustrated by Rhys Wiliams. 
Publishing details: Sydney : W.H. Honey Publishing Co., circa 1930. Duodecimo, illustrated wrappers, pp. [16], illustrated.
Ref: 1000
Jinks Samview full entry
Reference: Sam Jinks. body in time.
Exhibition catalogue of 11 works with essay by Danny Lacy.
Publishing details: Melbourne : Shepparton Art Museum, 2012. Quarto, illustrated white wrappers, pp. 46, colour images throughout.
Ref: 1000
Maddock Beaview full entry
Reference: Bea Maddock by Alisa Bunbury. Exhibition catalogue with list of works and essay by Alisa Bunbury.
Publishing details: Melbourne : National Gallery of Victoria, 2013. Quarto, illustrated wrappers, pp. 35, illustrations throughout.
Ref: 1000
Cook Captainview full entry
Reference: Reimagining Captain Cook : Pacific perspectivesAuthors : Julie Adams, Lissan Bolton, Theano Guillaume-Jaillet, Mary McMahon, Gaye Sculthorpe. [to be indexed]
On the 250th anniversary of Captain James Cook’s extraordinary voyages of exploration, this publication reflects on and charts the enduring legacies of his encounters with Pacific peoples. Objects collected and images made on or associated with the voyages are explored alongside artworks created by contemporary artists from the Pacific region. Together, theyreveal that understandings of history are rarely agreed and always shifting, while Cook and the impacts of his voyages are reimagined as complex, contentious and unresolved.

Publishing details: London, United Kingdom : British Museum Press, 2019. Quarto, illustrated wrappers, pp. 64, illustrated.
Ref: 1000
Dickerson Robertview full entry
Reference: Robert Dickerson. 80th birthday exhibition.

Publishing details: Sydney : Rex Irwin Art Dealer and Dickerson Gallery, 2004. Octavo, illustrated wrappers, pp. 12, illustrated. Price list enclosed.
Ref: 1000
Absalom Jack and othersview full entry
Reference: Arthur E. Adams, Judy Barnard, Jack Absalom, John McQualter

Publishing details: Melbourne : Original Art Gallery, 1973. Octavo, lettered cards, price list.
Ref: 1000
Adams Arthur Eview full entry
Reference: see Arthur E. Adams, Judy Barnard, Jack Absalom, John McQualter

Publishing details: Melbourne : Original Art Gallery, 1973. Octavo, lettered cards, price list.
Barnard Judy view full entry
Reference: see Arthur E. Adams, Judy Barnard, Jack Absalom, John McQualter

Publishing details: Melbourne : Original Art Gallery, 1973. Octavo, lettered cards, price list.
McQualter John view full entry
Reference: see Arthur E. Adams, Judy Barnard, Jack Absalom, John McQualter

Publishing details: Melbourne : Original Art Gallery, 1973. Octavo, lettered cards, price list.
Silas Ellis view full entry
Reference: Picturesque travel. No. 6, 1925. - The cover featuring an illustration by Ellis Silas.
1. Burns Philip Line to Papua and the Pacific Islands; 2. Nippon, Yusen, Kaisha routes map in the East; Australia-Java-Singapore; Burns Philp ocean and overland routes; two pages with red underlining, otherwise contents very clean and sound, a good copy.
Contains well-illustrated descriptions of package tours in all parts of the globe, but principally Australia, the Pacific Islands, Singapore and the East Indies,  India, Japan and China.
Trove locates four copies (NLA; Deakin University Library; Powerhouse Museum Research Library; Queensland Museum Library)

Publishing details: Sydney : Burns, Philp & Company, [1925]. Small quarto (270 x 200 mm), original pictorial stiff wrappers, the front featuring an illustration by Ellis Silas (some creasing and corner wear, spine chipped and with short tears at head and foot), pp 110, [2], b/w photographic and line illustrations throughout and 4 large folding colour maps:
Ref: 1000
Light Williamview full entry
Reference: “Thebarton Cottage” The old home of Colonel William Light.
Publishing details:
[Adelaide : Royal Geographical Society, South Australian Branch, 1927]. Reprinted from Proceedings of the Royal Geographical Society, South Australian Branch, Session 1926-7. Octavo, lettered wrappers, pp. 21, illustrated.

 

Ref: 1000
Hart Proview full entry
Reference: Pro Hart at Gallery 106, catalogue of 21 works.
Publishing details: Melbourne : Gallery 106, 1971. Exhibition catalogue, card, folded,
Ref: 1000
Couttoupes Aliceview full entry
Reference: see Look Magazine, article ‘The art that made me.’ p23-25.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Dent Aileenview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Lewis Alettaview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
women artistsview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Cowan Edithview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Heysen Noraview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Edwell Bernice miniature artistview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Cooper Bessie miniature artistview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Walker Mary miniature artistview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Paterson Agnes or Mrs Stanley James Davis miniature artistview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Davis Mrs Stanley James miniature artist - Paterson Agnes view full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Rohr Mollie miniature artist view full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Tate Caryll miniature artist view full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Whiting Ada miniature artist view full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Edwards Mary - Mary Edwell-Burkeview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Edwell-Burke Mary aka Mary Edwardsview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Manning Tempeview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Allen Mary Cecilview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Davis Sylviaview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Davis Sylviaview full entry
Reference: see Look Magazine, referred to in passing in ‘Lost and Found’ article on the upcoming Archibald Prize Centenary exhibition in 2021.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Hinder Margelview full entry
Reference: see Look Magazine, article about forthcoming exhibition at the AGNSW June - Sept, 2020 by Denise Mimmocchi, p36-42, illustrated.
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Wei Guanview full entry
Reference: see Look Magazine, interview by Miriam Cosic p67-71
Publishing details: Art Gallery Society of NSW, May-June, 2020.
Callaway M H Miss drawingview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Cooper Carl plaster mask - artist was handicapped by partial paralysisview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Courier Jack pastelview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Ehms Joyce lithographview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Fairbairn Agnes 2 oilsview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Fewster Edward oil still lifeview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Friedman Leslie ceramic Aboriginal child’s headview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Gamble Jennifer oil Pumpkinsview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Hewitt D Miss oil 1948 Nostalgiaview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Ikin Pauline oils 2 portraits 1 still lifeview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Lowcray Rose oilview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
McInnes Gwendoline oil still lifeview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
McKail Idalia pastel landscapesview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Nerli Girolamo Bush Life WA 1899view full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Nuttall Charles 1872-1934 an etching and a pencilview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Ovenden Dick oilview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Poole Emery R watercolour and inkview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Rayment R S oil River Yarraview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Shearsby E J 2 oils landscapesview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Schreiber Robert architect’s drawingview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Shearsby E J 2 oils animals in landscapesview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Surry Fabian etchingview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Sylvester Keith oil self portraitview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Tainsh Douglas E oil 1947view full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Turner Ethel M 2 watercolour landscapesview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Ussher Edith M watercolour ;landscapeview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Winkles H Melbourne drawn and engraved byview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Witton M oil 1890 landscapeview full entry
Reference: see Australiana in the Pattee Library.
including The Thomas and Henry Ingram Moody Memorial Collection. The Headlight on books at Penn State. New Series, Number 4, edited by Margaret Knoll Spangler. This publication lists art, books, periodicals and catalogues in the Pattee Library relating to Australia. Lesser-known artists and some artworks of significance have been included in the Scheding Index. However, no biographical information is contained in this publication.

Publishing details: Pennsylvania, The Pennsylvania State University Library, 1957. 8vo; pp. 44; portrait frontispiece; stiff stapled illustrated wrapper.
Bodies & Mindsview full entry
Reference: Bodies & Minds - Charles Nodrum Gallery catalogue [to be indexed]
Publishing details: May-June 2007, 76pp, price list inserted
Ref: 73
Cherelle Hutchinson Collectionview full entry
Reference: The Cherelle Hutchinson Collection, 2014 - Charles Nodrum catalogue [to be indexed]
Publishing details: Charles Nodrum, 2014
Ref: 1000
From Texture to Sculptureview full entry
Reference: From Texture to Sculpture, 1987 - Charles Nodrum catalogue [to be indexed]
Publishing details: Charles Nodrum, 1997
Ref: 1000
David Haroldview full entry
Reference: 20 / TWENTY In One Eye
Harold David - Harold David's response to our rapidly changing world via means of abstraction. Alone, United, Divided, Surrounded, Crowded, Hidden, Afraid and Flawed and here we find ourselves. Colour, Movement, Joy and Frustration surge to the surface as living verbs as our towers crumble. Twenty/20 finds us with the value of hindsight and in unprecedented territory. Flawed marks and flawed humanity and the beauty therein, this is 20/twenty In One Eye. 
Viewing for this exhibition is 
Online | Virtual Tour | By Appointment | FaceTime/Zoom
Publishing details: Day Gallery, Blackheath, NSW, 2020
Ref: 1000
Mathews Gregory M (1876-1949)view full entry
Reference: The birds of Norfolk & Lord Howe Islands and the Australasian South Polar quadrant : with additions to "The birds of Australia" / by Gregory M. Mathews
Publishing details: London : H.F. & G. Witherby, 1928 
xii, 139 p., 45 leaves of plates : ill. (some col.) Limited ed. of 225 copies.
Ref: 1000
Mathews Gregory M (1876-1949)view full entry
Reference: The birds of Australia / by Gregory M. Mathews [’As well as the extensive scientific text, in which Mathews described several new species and subspecies, the 12 volumes are illustrated with some 600 hand-coloured lithographed plates by J.G. Keulemans (who completed 163 illustrations for the first four volumes before his death on 29 March 1912), H. Grönvold, Roland Green, Herbert Goodchild and G.E. Lodge.’]
Publishing details: London : Witherby, 1910-1927 
14 v. in 12 : col. ill. Issued in 12 v. with 5 supplements.
Suppl. 1-3. Check list of the birds of Australia. --Suppl. 4-5. Bibliography of the birds of Australia.
Ref: 1000
birdsview full entry
Reference: see The birds of Australia / by Gregory M. Mathews [’As well as the extensive scientific text, in which Mathews described several new species and subspecies, the 12 volumes are illustrated with some 600 hand-coloured lithographed plates by J.G. Keulemans (who completed 163 illustrations for the first four volumes before his death on 29 March 1912), H. Grönvold, Roland Green, Herbert Goodchild and G.E. Lodge.’]
Publishing details: London : Witherby, 1910-1927 
14 v. in 12 : col. ill. Issued in 12 v. with 5 supplements.
Suppl. 1-3. Check list of the birds of Australia. --Suppl. 4-5. Bibliography of the birds of Australia.
McDonald Eric collectorview full entry
Reference: ANGUS & ROBERTSON. CATAOGUE OF AUSTRALIANA FROM THE LIBRARY OF DR ERIC McDONALD. The finest collection ever offered for sale in Australia. This is a catalogue of Australiana from the collection of Dr Eric McDonald, who had over a number of years collected a fine & immaculate collection of the finest collection of Australiana.
Publishing details: Syd. Angus & Robertson Ltd. 1963. Wrapps. 83pp.b/w ills.
Ref: 1000
Australianaview full entry
Reference: see ANGUS & ROBERTSON. CATAOGUE OF AUSTRALIANA FROM THE LIBRARY OF DR ERIC McDONALD. The finest collection ever offered for sale in Australia. This is a catalogue of Australiana from the collection of Dr Eric McDonald, who had over a number of years collected a fine & immaculate collection of the finest collection of Australiana.
Publishing details: Syd. Angus & Robertson Ltd. 1963. Wrapps. 83pp.b/w ills.
Great Australian Dreamview full entry
Reference: ARCHER, John. The Great Australian Dream. The History of the Australian House. ‘Australians have long been obsessed by the dream of home ownership. A history of Australian homes, from the makeshift tents first pitched in 1788 through to the futuristic homes of the 1960s.’
Publishing details: Syd. Angus & Robertson. 1996. (rep) 4to. Col.Ill. wrapps. 240pp.
Ref: 1000
architectureview full entry
Reference: see ARCHER, John. The Great Australian Dream. The History of the Australian House. ‘Australians have long been obsessed by the dream of home ownership. A history of Australian homes, from the makeshift tents first pitched in 1788 through to the futuristic homes of the 1960s.’
Publishing details: Syd. Angus & Robertson. 1996. (rep) 4to. Col.Ill. wrapps. 240pp. Light wear to corners. Profusely illustrated in black & white.
Your Homeview full entry
Reference: ARCHER, John. Your Home. The Inside Story of the Australian House. John Archer looks at the aspects of the Australian home that are particularly unique. The great Australian Verandah, the backyard swimming pool, with other historical facts on the home.
Publishing details: Port Melbourne. Lothian Books. 1998. 4to. Col.Ill.wrapps. 204pp. Profusely illustrated in black & white. Very good copy. 1st ed.
Ref: 1000
architectureview full entry
Reference: see ARCHER, John. Your Home. The Inside Story of the Australian House. John Archer looks at the aspects of the Australian home that are particularly unique. The great Australian Verandah, the backyard swimming pool, with other historical facts on the home.
Publishing details: Port Melbourne. Lothian Books. 1998. 4to. Col.Ill.wrapps. 204pp. Profusely illustrated in black & white. Very good copy. 1st ed.
Californian Bungalow in Australiaview full entry
Reference: BUTLER, Graeme. The Californian Bungalow in Australia. Origins, Revivals, Source Ideas for Restoration. Californian bungalows ring
the inner suburbs of many Australian towns & cities. Built for a new generation of home owners after WWI, they were sturdy with simple interiors & a side garage.
Publishing details: Port Melbourne. Lothian Book. 1995. (rep) Folio. Col.Ill.wrapps. 154pp. col plates & b/w ills.
Ref: 1000
architectureview full entry
Reference: see BUTLER, Graeme. The Californian Bungalow in Australia. Origins, Revivals, Source Ideas for Restoration. Californian bungalows ring
the inner suburbs of many Australian towns & cities. Built for a new generation of home owners after WWI, they were sturdy with simple interiors & a side garage.
Publishing details: Port Melbourne. Lothian Book. 1995. (rep) Folio. Col.Ill.wrapps. 154pp. col plates & b/w ills.
Australian Houses of the Twenties & Thirtiesview full entry
Reference: CUFFLEY, Peter. Australian Houses of the Twenties & Thirties. Stylish houses dating from the 20s & 30s can be found throughout Australia’s older suburbs. They serve as an architectural reminder of Australia’s nationwide housing boom after WWI.
Publishing details: Noble Park. The Five Mile Press. 1997. (rep) 4to. Col.Ill.wrapps. 264pp. col plates & b/w ills.
Ref: 1000
architectureview full entry
Reference: see CUFFLEY, Peter. Australian Houses of the Twenties & Thirties. Stylish houses dating from the 20s & 30s can be found throughout Australia’s older suburbs. They serve as an architectural reminder of Australia’s nationwide housing boom after WWI.
Publishing details: Noble Park. The Five Mile Press. 1997. (rep) 4to. Col.Ill.wrapps. 264pp. col plates & b/w ills.
Wilson Hardyview full entry
Reference: EDWARDS, Zeny. THE GRECIAN PAGODA. And the Architecture of Eryldene. Examines the history & architecture of Hardy Wilson’s masterpiece Eryldene in Gordon, NSW.
Publishing details: Syd. Zed. 1995. wrapps. 94pp. b/w ills. Fine. 1st ed. Limited edition of 500 numbered copies, signed by the author.
Ref: 1000
Wolinski Josephview full entry
Reference: see label verso of painting be offered on Ebay May, 2020, View of Sydney from Potts Point, 1912’: Studied Academie Colarossi, Paris; Exhibitions: RA; Salon de Artistes de Paris; The National Academy, NY; Philadelphia Academy of Fine Arts
Watling Thomas DAAO entryview full entry
Reference: Thomas Watling b. 1762
Also known as Thomas Watling
Artist (Painter). Painter, author and convict from Dumfries, Scotland, Watling was transported to Sydney in 1792. Most of Watling's work are of natural history subjects but there are also many sensitive portraits of Aboriginal figures and a few landscape views, which serve as invaluable records of early colonial life.
painter, author and convict, was baptised on 19 September 1762 in Dumfries, Scotland, son of Ham Watlin (sic), a soldier. Watling’s parents died while he was still a child and he was raised and educated by his mother’s unmarried sister Marion (May) Kirkpatrick. Despite his aunt’s apparently meagre resources, it is clear from Watling’s writing and drawings that he enjoyed a reasonably liberal technical education. After working as a portrait painter ('limner’) at Dumfries, he went to Glasgow to work as a coach and chaise painter for several months in 1788. Following his return to Dumfries, he taught drawing to 'Ladies and Gentlemen’ at 'Watling’s Academy’, but on 27 November 1788 was charged with forging 1-guinea promissory notes on the Bank of Scotland. While being held and interrogated by the officials of the court he made several contradictory statements and retractions, apparently speaking first with and subsequently without legal advice. Fearing the death sentence, he finally made no plea but, protesting his innocence, petitioned to accept transportation. On this petition, without his case being heard, he was sentenced to fourteen years on 14 April 1789.
On the way to join a convict hulk at Plymouth, Watling, with another convict named Paton, warned the crew of the Peggy of a mutiny planned by fellow convicts. On the recommendation of Robert Smith, master of the Peggy , Paton was pardoned but Watling received no reward. At Plymouth he was held in the hulk Dunkirk while he petitioned for mercy, with the support of two of his gaolers, on the grounds of his good behaviour and better intentions. His aunt also petitioned on the grounds that his departure would leave her destitute. Lord Hailes, the magistrate who had sentenced Watling, reported that he should consider himself lucky to have escaped the gallows and none of the petitions were successful. He was transferred to the Pitt on 23 May 1791, bound for New South Wales. Managing to escape in Cape Town, he remained free for about a month hoping to find a passage back to Europe, then was discovered and arrested by the Dutch and imprisoned for some seven months. He finally reached Sydney in the Royal Admiral on 7 October 1792.
As a professional draughtsman, Watling was an asset to the colony and it is believed that he was almost immediately assigned to Chief Surgeon John White , who collected botanical and zoological specimens and had already published an illustrated Journal of a Voyage to New South Wales (London 1790). White set Watling to work to make natural history drawings and soon accumulated a large body of work, presumably with a view to a further publication on new species. Watling commented to his aunt: 'My employment is painting for J.W. esq., the non-descript productions of the country’. White is known to have taken many drawings with him on his return to England in 1794, but any proposed book incorporating these never appeared.
The bulk of White’s collection is now believed to be that held in the British Museum (Natural History), London, misleadingly known as the Watling Collection – an ironic label given that White did not approve of Watling signing his work. The single largest collection of early colonial art, it consists of 512 drawings, 123 signed by Watling. Apart from possible copies of other people’s work (which he appears to have drawn but not signed) it is feasible that only the signed drawings are his, and certainly several other hands are represented. Most of Watling’s are of natural history subjects but there are also many sensitive portraits of Aboriginal figures and a few landscape views.
Following White’s departure Watling was apparently re-assigned to Judge-Advocate David Collins whose Account of the English Colony in New South Wales (London 1798) is illustrated with twenty engravings, all believed to be after drawings made by Watling. The first volume includes a series of engraved views of Sydney executed by J. Heath after a set of working drawings made by the English artist Edward Dayes (National Library of Australia, Petherick Collection). Their primary source can be assumed to be Watling, since connections can be made with a known drawing (Mitchell Library) and perhaps with some of the drawings in the 'Watling Collection’, although these latter may be prototypes from another, earlier hand subsequently copied by Watling.
Letters [from an Exile] at Botany Bay to his Aunt in Dumfries: Giving a Particular Account of the Settlement of New South Wales with the Customs and Manners of the Inhabitants (Penrith, Scotland, printed by Ann Bell, n.d.) is a small but valuable literary work by Watling published about 1794. In it he considers the landscape possibilities of the new continent and expresses his distaste for life as a convict in the settlement. 'My worthy friend Mr. H.’, he states, 'may reasonably conclude that these romantic scenes will much amuse my pencil; though therein he is mistaken’. While he thought that much of the local flora and fauna was 'tinged with hues that must baffle the happiest efforts of the pencil’, he complained that his artistic instincts were generally blunted by the unpicturesque monotony of the antipodean landscape. He therefore proposed to 'select and combine’ in order to counter this and was aiming to spend a year or two producing 'as correct an history and as faithful and finished a set of drawings of the picturesque, botanic, or animate curiosities of N.S.Wales , as has ever yet been received in England '.
From Sydney Cove, Watling forwarded a prospectus to his aunt dated 20 May 1793, which was inserted in the Dumfries Weekly Journal on 25 March 1794 in hopes of attracting subscribers to his 'Picturesque Description’, wherein 'the subjects attempted, shall be partial and general views of Sydney , Parramatta and Toongabbe [sic]; romantic groves, or native groupes, and that, if possible in the course of the work, curiosities in ornithology and botany shall be interwoven’. But although he stated that he had already begun the book, nothing further is known of it.
On the evidence in his Letters of his dislike for colonial life, it has been assumed that Watling left the colony as soon as he possibly could after receiving his absolute pardon on 5 April 1797. It is, however, impossible to say precisely when he did leave but he was in India by 1800. The Thomas Watling, described as a miniature painter and listed (with his son) in Calcutta directories for 1801, 1802 and 1803 has been confirmed as being the same artist.
Back home at Dumfries in 1803, he was employed as art master at the Dumfries Academy for one year at a salary of six guineas. To supplement this he also accepted commissions to paint houses, coaches and signs. An advertisement inserted in the Dumfries Weekly Journal in June 1803 proclaimed his expertise in these various arts – enhanced by his knowledge of 'the secret of ARTIFICAL INDIA MARBLING, LAPIS LAZULI, TORTOISE-SHELL, &c. not easily discovered from the real; and without extreme injury not less durable’ – and a knowledge of painting that was 'not confined’. He also ran a private drawing school in 'Mr Muir’s lodgings, above Mr Sinclair’s Shop, Bookseller’ where, after the first three months, tuition was half price. Business does not seem to have been brisk. In 1805 Watling was charged with forging seven £5 notes on the Bank of Scotland between November 1804 and March 1805. His trial in January 1806 produced the uniquely Scottish verdict 'unproven’. The last documented reference to Watling is an undated letter (c.1814) he wrote to Governor Hunter in which he stated that he was dying of cancer and asked for financial support.
Watling is identifiable as a highly proficient, professional draughtsman. Since he appears to have been virtually the only competent artist in early colonial Sydney work has been, and often still is, attributed to him in the absence of any other candidate. Beyond the collections of drawings held in the British Museum (Natural History) and the engravings published in Collins’s Account , Watling’s name has been associated with four of the five known large oil paintings of the colony considered to have been produced about 1800 (three held in the Mitchell Library and Dixson Galleries’ collections and one in private hands) as well as with two important topographical landscape prints known as Blake’s View (1802) and Dayes’s View (1804) after their English engraver and painter respectively. However, until it proves possible to discover how Watling was provided with oil paints and canvas in Sydney, it seems logical to assume, as Bernard Smith has suggested, that any oil painting was done back in Scotland from 1804. Even so, the attribution of any of these oil views to Watling remains unresolved, although the debate has advanced in recent research and writing.
Watling’s art and writing brought both fashionable sensibility and professional facility to the colony. His natural history and ethnographic drawings serve as invaluable records but his preferred interest, and the aspect of his work most accessible to modern eyes, is his landscape painting and drawing. Ranging from small drawings such as Sun Rising—Going out of Port-Jackson Harbour (British Museum) to the most convincingly attributed of the large oils, A Direct North General View of Sydney Cove, the Chief British Settlement in New South Wales As It Appeared in 1794, Being the 7th Year of its Establishment. Painted Immediately from Nature by T. Watling (Dixson Galleries) – still disputed in 2001 and attributed to Edwin Dayes by Ian McLean (London V& A Conference Paper) – these works expand the confines of topographical landscape to encompass larger themes in a manner unique in the early colonial period.
Writers:
Bull, Gordon
Date written:
1992
Last updated:
2011

Watling Thomasview full entry
Reference: Dixson, W. (1923), 'Some early pictures of Sydney’, Journal of the Royal Australian Historical Society, vol. 9.
Publishing details: Journal of the Royal Australian Historical Society, vol. 9. 1923.
Ref: 1000
colonial artview full entry
Reference: see Dixson, W. (1923), 'Some early pictures of Sydney’, Journal of the Royal Australian Historical Society, vol. 9.
Publishing details: Journal of the Royal Australian Historical Society, vol. 9. 1923.
Australian landscapeview full entry
Reference: The Australian landscape. Catalogue of an exhibition held at the Art Gallery of South Australia, 3rd March - 3rd April 1972 and then at 7 other Australian galleries. [to be indexed] [includes works by Thomas Watling, J. W. Lewin, Walter Withers, Charles Conder, Margaret Preston, Eugene von Guerard, Christo and others.]
Publishing details: Adelaide : Art Gallery of South Australia, [1972?] 
10 p. : ill. (1 col.) ; 25 cm.
Ref: 1000
landscapeview full entry
Reference: see The Australian landscape. Catalogue of an exhibition held at the Art Gallery of South Australia, 3rd March - 3rd April 1972 and then at 7 other Australian galleries. [to be indexed
Publishing details: Adelaide : Art Gallery of South Australia, [1972?] 
10 p. : ill. (1 col.) ; 25 cm.
Dobson John goldfields drawingsview full entry
Reference: see Australian Art Auctions, 25 May, 2020, lot [18]
GOLD RUSH SCRAPBOOK. SCRAPBOOK KEPT by an English metallurgist, John Dobson, in preparation for his trip to the Victorian goldfields in the 1850s. Octavo, elaborate calf (bit rubbed), edges gilt. Circa 1850s. An interesting scrapbook, started in Howden, England, before the compiler Dobson, travelled to Melbourne. Dobson, an assayist & metallurgist, was interested in processing gold rather than digging for it. It includes extensive and technical notes; sketches and diagrams of furnaces &c; notes & statistics on the Australian goldfields, and properties of Australian gold and quartz; and relevant cuttings from English papers with reports of the Australian goldfields. But the scrapbook also includes some more lively & engaging sketches and watercolours, some copied, of life in the goldfields &c.
Bell Guilford. 1952-1980 view full entry
Reference: ARCHITECTURE OF GUILFORD BELL. Edited by Anne Imrie.
Publishing details: Oblong folio, illustrated throughout, original textured boards (nicked at one point). South Melbourne, Proteus Publishing, 1982.
Ref: 1000
medalsview full entry
Reference: CARLISLE, L.J. AUSTRALIAN HISTORICAL MEDALS: 1788-1988.
Publishing details: Folio, illustrations, original boards with dustwrapper. Sydney, 2008
Ref: 1000
Angas family South Australiaview full entry
Reference: [see Australian Art Auctions, 25 May, 2020, lot 67:
HARRISON, Robert. COLONIAL SKETCHES: or, Five Years in South Australia, with hints to capitalists and emigrants. printed in Newcastle-upon-Tyne and published by a former settler in South Australia from 1856-1861. Writing of the colony under the administration of the eminently lampoonable Sir Richard McDonnell, Harrison’s criticisms of South Australia, its society, manners and pretensions are often wickedly satirical but not entirely malicious. Petherick claimed that the Angas family (who are ridiculed throughout) purchased and destroyed every copy of the book they could find. Ferguson, 10265 (repeating Petherick).
Publishing details: Octavo, original brown cloth. London and Newcastle- upon-Tyne, Hall, Virtue, and Co., William Kaye, 1862. Only edition,
Ref: 1000
Watling Thomasview full entry
Reference: The Watling drawings, with incidental notes on the Lambert and the Latham drawings / by K. A. Hindwood. "Reprinted from the Proceedings of the Royal Zoological Society of New South Wales 1968-69"
Publishing details: [Sydney : Royal Zoological Society of New South Wales, 1970?] 
p. 16-32 : ill.
Ref: 1009
South of the Westview full entry
Reference: South of the West : postcolonialism and the narrative construction of Australia / Ross Gibson.
Full contents • 1. The Middle Distance...or, The Printed World
• 2. Letters from Far-off Lands: Two Studies of Writing in Exile. I. "Each Wild Idea as It Presents Itself": A Commentary on Thomas Watling's Letters from an Exile at Botany-Bay. II. "What Do I Know?": The "Alien" Subject in the Fugitive Films of Chris Marker
• 3. The Nature of a Nation: Landscape in Australian Feature Films
• 4. Geography and Gender. I. Forecast. II. Precipitation
• 5. Beyond the Compass of Words: Edgar Allan Poe, the South Seas, and "A Manuscript Found in a Bottle"
• 6. The Keen Historic Spasm: Rhetorical Uses for the Archival Photograph
• 7. Yarning
• 8. Yondering: A Reading of MAD MAX Beyond Thunderdome
• 9. Remembering Art
• 10. Elsewhere, Today. 2 False Starts about 4 Australian Artists Writing around the Work of Jacky Redgate, Robyn Stacey, Jeff Gibson, and Anne Zahalka. I. Elsewhere. II. Today.

Publishing details: Bloomington : Indiana University Press, c1992 
xii, 257 p. : ill.
Ref: 1000
Watling Thomasview full entry
Reference: see South of the West : postcolonialism and the narrative construction of Australia / Ross Gibson.
Full contents • 1. The Middle Distance...or, The Printed World
• 2. Letters from Far-off Lands: Two Studies of Writing in Exile. I. "Each Wild Idea as It Presents Itself": A Commentary on Thomas Watling's Letters from an Exile at Botany-Bay. II. "What Do I Know?": The "Alien" Subject in the Fugitive Films of Chris Marker
• 3. The Nature of a Nation: Landscape in Australian Feature Films
• 4. Geography and Gender. I. Forecast. II. Precipitation
• 5. Beyond the Compass of Words: Edgar Allan Poe, the South Seas, and "A Manuscript Found in a Bottle"
• 6. The Keen Historic Spasm: Rhetorical Uses for the Archival Photograph
• 7. Yarning
• 8. Yondering: A Reading of MAD MAX Beyond Thunderdome
• 9. Remembering Art
• 10. Elsewhere, Today. 2 False Starts about 4 Australian Artists Writing around the Work of Jacky Redgate, Robyn Stacey, Jeff Gibson, and Anne Zahalka. I. Elsewhere. II. Today.

Publishing details: Bloomington : Indiana University Press, c1992 
xii, 257 p. : ill.
Redgate Jacky view full entry
Reference: see South of the West : postcolonialism and the narrative construction of Australia / Ross Gibson.
Full contents • 1. The Middle Distance...or, The Printed World
• 2. Letters from Far-off Lands: Two Studies of Writing in Exile. I. "Each Wild Idea as It Presents Itself": A Commentary on Thomas Watling's Letters from an Exile at Botany-Bay. II. "What Do I Know?": The "Alien" Subject in the Fugitive Films of Chris Marker
• 3. The Nature of a Nation: Landscape in Australian Feature Films
• 4. Geography and Gender. I. Forecast. II. Precipitation
• 5. Beyond the Compass of Words: Edgar Allan Poe, the South Seas, and "A Manuscript Found in a Bottle"
• 6. The Keen Historic Spasm: Rhetorical Uses for the Archival Photograph
• 7. Yarning
• 8. Yondering: A Reading of MAD MAX Beyond Thunderdome
• 9. Remembering Art
• 10. Elsewhere, Today. 2 False Starts about 4 Australian Artists Writing around the Work of Jacky Redgate, Robyn Stacey, Jeff Gibson, and Anne Zahalka. I. Elsewhere. II. Today.

Publishing details: Bloomington : Indiana University Press, c1992 
xii, 257 p. : ill.
Stacey Robyn view full entry
Reference: see South of the West : postcolonialism and the narrative construction of Australia / Ross Gibson.
Full contents • 1. The Middle Distance...or, The Printed World
• 2. Letters from Far-off Lands: Two Studies of Writing in Exile. I. "Each Wild Idea as It Presents Itself": A Commentary on Thomas Watling's Letters from an Exile at Botany-Bay. II. "What Do I Know?": The "Alien" Subject in the Fugitive Films of Chris Marker
• 3. The Nature of a Nation: Landscape in Australian Feature Films
• 4. Geography and Gender. I. Forecast. II. Precipitation
• 5. Beyond the Compass of Words: Edgar Allan Poe, the South Seas, and "A Manuscript Found in a Bottle"
• 6. The Keen Historic Spasm: Rhetorical Uses for the Archival Photograph
• 7. Yarning
• 8. Yondering: A Reading of MAD MAX Beyond Thunderdome
• 9. Remembering Art
• 10. Elsewhere, Today. 2 False Starts about 4 Australian Artists Writing around the Work of Jacky Redgate, Robyn Stacey, Jeff Gibson, and Anne Zahalka. I. Elsewhere. II. Today.

Publishing details: Bloomington : Indiana University Press, c1992 
xii, 257 p. : ill.
Gibson Jeff , view full entry
Reference: see South of the West : postcolonialism and the narrative construction of Australia / Ross Gibson.
Full contents • 1. The Middle Distance...or, The Printed World
• 2. Letters from Far-off Lands: Two Studies of Writing in Exile. I. "Each Wild Idea as It Presents Itself": A Commentary on Thomas Watling's Letters from an Exile at Botany-Bay. II. "What Do I Know?": The "Alien" Subject in the Fugitive Films of Chris Marker
• 3. The Nature of a Nation: Landscape in Australian Feature Films
• 4. Geography and Gender. I. Forecast. II. Precipitation
• 5. Beyond the Compass of Words: Edgar Allan Poe, the South Seas, and "A Manuscript Found in a Bottle"
• 6. The Keen Historic Spasm: Rhetorical Uses for the Archival Photograph
• 7. Yarning
• 8. Yondering: A Reading of MAD MAX Beyond Thunderdome
• 9. Remembering Art
• 10. Elsewhere, Today. 2 False Starts about 4 Australian Artists Writing around the Work of Jacky Redgate, Robyn Stacey, Jeff Gibson, and Anne Zahalka. I. Elsewhere. II. Today.

Publishing details: Bloomington : Indiana University Press, c1992 
xii, 257 p. : ill.
Zahalka Anne view full entry
Reference: see South of the West : postcolonialism and the narrative construction of Australia / Ross Gibson.
Full contents • 1. The Middle Distance...or, The Printed World
• 2. Letters from Far-off Lands: Two Studies of Writing in Exile. I. "Each Wild Idea as It Presents Itself": A Commentary on Thomas Watling's Letters from an Exile at Botany-Bay. II. "What Do I Know?": The "Alien" Subject in the Fugitive Films of Chris Marker
• 3. The Nature of a Nation: Landscape in Australian Feature Films
• 4. Geography and Gender. I. Forecast. II. Precipitation
• 5. Beyond the Compass of Words: Edgar Allan Poe, the South Seas, and "A Manuscript Found in a Bottle"
• 6. The Keen Historic Spasm: Rhetorical Uses for the Archival Photograph
• 7. Yarning
• 8. Yondering: A Reading of MAD MAX Beyond Thunderdome
• 9. Remembering Art
• 10. Elsewhere, Today. 2 False Starts about 4 Australian Artists Writing around the Work of Jacky Redgate, Robyn Stacey, Jeff Gibson, and Anne Zahalka. I. Elsewhere. II. Today.

Publishing details: Bloomington : Indiana University Press, c1992 
xii, 257 p. : ill.
Watling Thomasview full entry
Reference: A wild adventure [electronic resource] : fragments from the life of Thomas Walkting Dumfries convict artists / Tom Pow
by Pow, Tom
Edinburgh : Polygon, 2014
Publishing details: online text
Ref: 1000
Famous and infamous convictsview full entry
Reference: Famous and infamous convicts by Nicolas Brasch. "The book provides an introduction to some of the more notorious convicts who came to Australia. Some were renowned because they escaped from captivity, others because they became bushrangers, and still others because they became respectable members of society as architects, doctors and businesspeople. But the one thing these convicts had in common, which is evident from their accounts, is that they faced an environment they were unused to and for which they were unprepared."--Provided by publisher.
Publishing details: Port Melbourne, Vic. : Echidna Books, 2008. 32pp.
Ref: 1009
Greenway Francis view full entry
Reference: see Famous and infamous convicts by Nicolas Brasch. "The book provides an introduction to some of the more notorious convicts who came to Australia. Some were renowned because they escaped from captivity, others because they became bushrangers, and still others because they became respectable members of society as architects, doctors and businesspeople. But the one thing these convicts had in common, which is evident from their accounts, is that they faced an environment they were unused to and for which they were unprepared."--Provided by publisher.
Publishing details: Port Melbourne, Vic. : Echidna Books, 2008. 32pp.
Watling Thomas view full entry
Reference: see Famous and infamous convicts by Nicolas Brasch. "The book provides an introduction to some of the more notorious convicts who came to Australia. Some were renowned because they escaped from captivity, others because they became bushrangers, and still others because they became respectable members of society as architects, doctors and businesspeople. But the one thing these convicts had in common, which is evident from their accounts, is that they faced an environment they were unused to and for which they were unprepared."--Provided by publisher.
Publishing details: Port Melbourne, Vic. : Echidna Books, 2008. 32pp.
Nature’s Explorersview full entry
Reference: Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Ref: 1000
Parkinson Sydney , industrious illustrator by Andrea Hartview full entry
Reference: see Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Forster Johann naturalist, ethnologist and ethnographer by Mark Carineview full entry
Reference: see Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Bauer Ferdinand botanical illustrator who voyaged to Australia by Paul Martyn Cooperview full entry
Reference: see Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Watling Thomas depicting early colonial life in Australia by Lisa di Tommasoview full entry
Reference: see Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Martens Conrad South Sea field artist by Sandra Knappview full entry
Reference: see Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Gould John father of Australian ornithology by Ann Dattaview full entry
Reference: see Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Baines Thomas artist-explorer of colonial South Africa and Australia by Ann Dattaview full entry
Reference: see Nature's explorers : adventurers who recorded the wonders of the natural world. ‘Nature's Explorers celebrates the individuals who made great personal endeavours to document the natural world. Superb artworks and photographs spanning three centuries have been chosen to illustrate each essay. From ground-breaking theorists such as Charles Darwin and Alfred Russel Wallace to evocative artists like Ferdinand Bauer and John James Audubon, these explorers shared an ambition to illuminate new worlds and each embodied the spirit of the Enlightenment and the Scientific Revolution. It was not until the early eighteenth century that artists were included on such expeditions, they were called upon to illustrate the new flora and fauna they discovered and in doing so were also able to provide new insights from social, cultural and historical perspectives.’
Publishing details: Natural History Museum, [2019], 240 pages : illustrations (chiefly colour), portraits.
Art of Natureview full entry
Reference: also published as Art & Nature by Judith Magee [’A remarkable visual journey through the exploration of the natural world, featuring many of the greatest natural history artists of the last 300 years, including John James Audubon, William Bartram, and brothers Franz and Ferdinand Bauer. Whether seeking fame, fortune, or simply the opportunity to share their breathtaking vision of nature, these scientists and artists were, in the words of Alexander von Humboldt, "spurred on by an uncertain longing for what is distant and unknown, for whatever excited my fantasy: danger at sea, the desire for adventures, to be transported from a boring daily life to a marvelous world." Also included are Alfred Russel Wallace, John Gould, Ernst Haeckel and John James Audubon
Publishing details: Greystone Books, 2010, hc, 256 pp
Coffey Alfred 1859-1950view full entry
Reference: see Clark's Fine Art & Auctioneers Inc., Van Nuys, CA, USA, 31.5.2020 lot 44: MOTU-UTA QUARANTINE 1. AND PILOT BOAT, TAHITI, 1913, oil painting on canvas, signed and dated lower left, titled lower center, 9 ¼ x 14”, frame 14 ¼ x 19 ¼”.
CONDITION
Surface soiling, pinholes and some wear in four corners, otherwise in apparently good aged condition.
and lot 45:
NOON TAHITI SHOWING MOOREA ISLAND, 1913, oil painting on canvas, signed and dated and titled lower right, 9 x 14”, frame 12 ¾ x 17 ¾”.
CONDITION
Scrape lower right at first name, soft impression lower left with some small nicks, surface soiling, faint scrapes upper right, otherwise in good aged condition.
Australian Painters view full entry
Reference: Australian Painters (included Lloyd Rees)
Publishing details: Golden Age Fine Art Gallery, 1983
Ref: 1000
Appleton Jeanview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Bale A M Eview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Bauer Ferdinandview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Bell Georgeview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Bellette Jeanview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Black Dorritview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Blackman Charlesview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Brack Johnview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Bunny Rupertview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Campbell Cressidaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Carrick Ethelview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Cazneaux Haroldview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Conder Charlesview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Cotton Oliveview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Smith Grace Cossingtonview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flower paintings and their painters. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Craig Sybilview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Croft Brendaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Culliton Lucyview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Dattilo-Rubbo Anthonyview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Davidson Bessieview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
de Maistre Royview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Dobell Williamview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Dupain Maxview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Falkiner Unaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Feint Adrianview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Fiveash Rosaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Fleming Margaretview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Ford Williamview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Fox E Phillipsview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Goodsir Agnesview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Gibb Viva Gillianview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Gould W Bview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Gruner Eliothview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Hall Bernardview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Henry Lucienview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Henty Rubyview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Heysen Hansview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Heysen Noraview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Jessup Fredview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Lahey Vidaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Lambert Georgeview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Lindsay Lionelview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Lindsay Normanview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
McCubbin Frederickview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Meldrum Maxview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Moffatt Traceyview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Nicholas Hilda Rixview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Nickolls Trevorview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
O’Brien Justinview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
O’Connor Kateview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Olley Margaretview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Onus Linview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Passmore Johnview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Papapetrou Polixeni view full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Power Harold Septimusview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Preston Margaretview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Proctor Theaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Purves Smith Peter view full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Rankin Donview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Smith Peter Purves view full entry
Reference: see Purves Smith Peter
Rehfisch Alisonview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Richardson Charles Douglasview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Roberts Tomview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Rowan Ellisview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Russell John Peterview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Searle Doraview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Shore Arnoldview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Short Henryview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Smith Ericview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Smith Joshuaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Stacey Robynview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Strachan Davidview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Strawbridge Elizaview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Streeton Arthurview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Teague Violetview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Thake Ericview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Thompson Christianview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Trenerry Horaceview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Walker Lucyview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Williams Florence 1833-1915view full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Wolseley Johnview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Zavros Michaelview full entry
Reference: see Blooms and Brushstrokes - A floral history of Australian art, by Penelope Curtin, Tansy Curtin. Includes biographical information within the essays on the flowers and their artists. Many other artists are mentioned in passing and are included in the index of the book. [’Blooms and Brushstrokes takes you on a unique journey through the history of Australian art, one flower at a time, examining the blooms depicted in still lifes, floral portraits, decorative interiors and botanical illustrations by a long line of Australian artists. Mother-and-daughter team Penelope and Tansy Curtin start this fascinating journey in the late eighteenth century, when the traditions adhering to the Western art canon were transplanted into the newly colonised Australia. They follow it through the rapidly developing artistic styles of the early twentieth century, to the new media of the contemporary period.

These works of art also shine a light on the role and importance of plants and flowers in everyday life. They illustrate changing floral fashions, as well as highlighting flowers in their various forms - cut flowers, pot plants and gardens. And along the way you'll encounter many of Australia's most significant artists, including John Glover, Arthur Streeton, Margaret Preston, Grace Cossington Smith, John Brack and Margaret Olley, as well as some of Australia's most beautiful, and sometimes intriguing, native flora, such as the waratah and Sturt's desert pea, not to mention perennial garden favourites like roses, sweet peas and daisies.

Spectacular, intimate, engaging and meticulously researched - and full of interesting and quirky facts about the flowers and the artists themselves, Blooms and Brushstrokes is a book for art, flower and history lovers alike.’]
Publishing details: Wakefield Press, 2019, 216pp
Sharp Martinview full entry
Reference: Sharper : bringing it all back home, Part two : 1980-2013 / the biography of Martin Sharp as told to Lowell Tarling [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. In this second of two volumes, Lowell Tarling offers us a way into the enigmatic and reclusive artist, through his extensive interviews with Sharp and all of his trusted friends, touching on the many dramas of life at Sharp's home studio, Wirian; his productions and search for meaning with regard to the Luna Park Fire; his spiritual search and death in 2013.’] Includes bibliographical references (pages 213-216) and index.
Publishing details: ETT Imprint, 2017. pb, 227 pages, 16 unnumbered pages of plates : illustrations, portraits, facsimiles;
Ref: 1009
Firth-Smith Johnview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Foley Roger - Ellis D Foggview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Fogg Ellis Dview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Glasheen Mickview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Gittoes Georgeview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Kee Jennyview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Kingston Peterview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Lanceley Colinview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Goold Bruceview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Lewis Jonview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Mora Mirka and Philippeview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Olsen Johnview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Powditch Peterview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Ramage Malview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Ramsden Michaelview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Shead Garryview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
van Wieringen Ian p42-3view full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Weight Gregview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Whiteley Brettview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Yang Williamview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Yellow Houseview full entry
Reference: see Sharp 1980-2013: A Biography of Martin Sharp. As told to Lowell Tarling. [’Martin Sharp was an integral part of international Pop Art in the 1960s, magnified through his covers for OZ magazine in Sydney and London, his covers for Cream, and posters of Dylan, Hendrix and Donovan. His efforts at making The Yellow House and Luna Park cultural precincts, were aided by his screen prints and exhibitions to flaunt the work of others, especially the singer Tiny Tim. Includes index.
Publishing details: ETT Imprint, 2016. pb, 296pp.
Bell Georgeview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Benson George 1886-1960view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Bryant Charles 1883-1937view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Dyson Will 1880-1938view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Fullwood Henry 1863-1930view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Lambert George 1873-1930view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Leist Fred 1873-1945view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Longstaff John 1861-1941view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
McCubbin Louis 1890-1952view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Power Harold Septimus 1877-1951view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Scott James 1877-1932view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Streeton Arthur 1867-1943view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Burgess Arthurview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Bryant Charlesview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Quinn Jamesview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Silas Ellisview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Crozier Frankview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Lindsay Darylview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Wheeler Charlesview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Gilbert Webview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Rodway Florenceview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
war artview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Meeson Doraview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Meeson Doraview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Coates Georgeview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Rae Isoview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Nicholas Hildaview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Davidson Bessieview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Traill Jessieview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Gurdon Norahview full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Riggall Louise p74view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
O’Connor Kate p74view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Dyson Ruby p74view full entry
Reference: see Painting war : a history of Australia's First World War art scheme / Margaret Hutchison. Includes bibliographical references (pages 247-258), note and index. ‘During the First World War the Australian Government established an official war art scheme, sending artists to the front lines to create a visual record of the Australian experience of the war. Around two thousand sketches and paintings were commissioned and acquired between 1916 and 1922. In Painting War, Margaret Hutchison examines the official art scheme as a key commemorative practice of the First World War and argues that the artworks had many makers beyond the artists. Government officials' selection of artists and subjects for the war paintings and their emphasis on the eyewitness value of the images over their aesthetic merit profoundly shaped the character of the art collection. Richly illustrated, Painting War provides an important understanding of the individuals, institutions and the politics behind the war art scheme that helped shape a national memory of the First World War for Australia.’

Publishing details: Cambridge University Press, 2019, xvii, 268 pages, [32] pages of plates : illustrations (some colour)
Dyson Ruby - Ruby Lindview full entry
Reference: see A history of painting by Haldane Macfall with a preface by Frank Brangwyn. Illustrated with two hundred plates in colour.
Publishing details: D. D. Nickerson and Company,1911, 8 Volumes.
Lind Ruby - Ruby Dyson view full entry
Reference: see A history of painting by Haldane Macfall with a preface by Frank Brangwyn. Illustrated with two hundred plates in colour.
Publishing details: D. D. Nickerson and Company,1911, 8 Volumes.
history of painting A by Haldane Macfall view full entry
Reference: A history of painting by Haldane Macfall with a preface by Frank Brangwyn. Illustrated with two hundred plates in colour. [to be indexed for Australian artists]
Publishing details: D. D. Nickerson and Company,1911, 8 Volumes.
Ref: 1000
Moore Mina and May essay p239-252view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Kilburn Douglasview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
photography and paintings - copied imagesview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
paintings and photography - copied imagesview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Grosse Frederick p63view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Haselden N C p63view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
carte de visiteview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Lindt J W essays p88-133view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Davis John in Samoa 1871-1903view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Grimshaw Beatrice in the Pacificview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Brown George Rev ehnographic portraits p166 etcview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Schell Frederick essay p193-203view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
McMahon Thomas Pacific photographs p216 essayview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Vere Scott R and R P Moore essayview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Moore R P and R Vere Scott essayview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
lantern slides essay p253view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Hurley Frank essay p265view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Bonaparte Prince Roland 1858-1924 essay p3view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Sweet Capt Samuelview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Sweet Capt Samuel p17ff p26ffview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Foelsch Paul p22ff p37ffview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Kerr John Hunter p46view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Brooks Joseph p33view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Brooks Joseph p33view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Becker Ludwig p46 p54view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Panton Joseph p54view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Stewart & Co p72view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Hudson Frederick p75ffview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Bowman James p77view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Barton Francis R p168view full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Lange T & p211 Sonview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Macfarlane Jview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Fox Elton Frederick Villiers 1892-1970 p253 essayview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Fox Arthur collection essayview full entry
Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015
Kelly Harry Garnet 1896-1967view full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 708
HARRY GARNET KELLY, (AUSTRALIAN 1896-1967), TASMANIA FOR YOUR NEXT HOLIDAY, 1930S COLOUR LITHOGRAPH, SIGNED IN IMAGE LOWER LEFT, 101 X 64CM. LINEN-BACKED. TEXT INCLUDES "MOUNT WELLINGTON AND THE PORT OF HOBART MERCURY PRESS, HOBART."

Shiers Chasview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 698
CHAS SHIERS (ACTIVE 1920S-30S) BUY AUSTRALIAN APPLES, AN EMPIRE'S HEATH APPEAL C1930S COLOUR LITHOGRAPH, LINEN-BACKED 75 X 25CM

Murray Kennethview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 713
KENNETH MURRAY, (AUSTRALIA, ACTIVE 1930S-70S), HEALTH, YOUR MASTER KEY TO SUCCESS, C1934, COLOUR LITHOGRAPH, 77 X 52CM. LINEN BACKED. TEXT AT BASE: "ISSUED BY THE DEPARTMENT OF PUBLIC HEALTH, N.S.W. ENQUIRIES WELCOMED ON ALL HEALTH MATTERS." MURRAY WAS AN EXHIBITOR IN THE NSW HEALTH DEPARTMENT'S POSTER COMPETITION: 26 - 30 JUNE 1934, FARMER'S BLAXLAND GALLERIES, SYDNEY.
Head John Eview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 729
JOHN E. HEAD (AUSTRALIA), [AUSTRALIAN FAUNA], C1945 COLOUR LITHOGRAPH, 34 X 101CM. LINEN-BACKED. TEXT READS “HEAD’S STUDIO, MELBOURNE.” SHOWS A MAGPIE, KINGFISHER, PARROT, PINK COCKATOO, KOOKABURRA AND KOALA. AN ILLUSTRATED BOOKLET ENTITLED BIRDS OF AUSTRALIA BY JOHN E. HEAD (HEAD’S STUDIO, MELBOURNE) IS HELD IN THE STATE LIBRARY OF VICTORIA. THE 5 BIRD IMAGES IN THE POSTER ARE ALMOST IDENTICAL TO THOSE REPRODUCED IN THE BOOK. WHAT WAS THE PURPOSE OF THIS POSTER?
Richardson Richardview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 732
CIRCA 1950S "DANCE BY THE BILLABONG" CHROMOLITHOGRAPH WITH ARTWORK BY RICHARD RICHARDSON, PRINTED FOR SCHOOLS IN AUSTRALIA, PRINTED BY LEGEND PRESS PTY LTD. SYDNEY. 41 X 58CM
Skate Ronald Clayton 1913-1990view full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, lot 737: RONALD CLAYTON SKATE (AUSTRALIAN, 1913-1990). FREIGHT WITHOUT DELAY WITH ANA 1950S COLOUR LITHOGRAPH, SIGNED IN IMAGE UPPER RIGHT, 99 X 63CM. LINEN-BACKED. “AUSTRALIAN NATIONAL AIRWAYS PTY LTD. AUSTRALIA’S MOST EXPERIENCED AIRLINE. PHOTO-LITHO., MCLARENS, MELBOURNE.” AUSTRALIAN NATIONAL AIRWAYS (ANA) RAN FROM 1936 TO 1957 UNTIL ITS MERGER WITH ANSETT TO BECOME ANSETT-ANA. THE "ANA" WAS DROPPED IN 1968.
Hughes Robert 1938-2012view full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 740
ROBERT HUGHES (AUSTRALIAN, 1938-2012). GORDON CHATER AS “CHARLEY’S AUNT” 1960 COLOUR SCREENPRINT, SIGNED "HUGHES" IN IMAGE LOWER RIGHT, 77 X 54CM. LINEN-BACKED. “ELIZABETHAN THEATRE, NEWTOWN LA 6734. BY BRANDON THOMAS. DIRECTED BY ALEX ARCHDALE. FROM NOV. 30.”
Mackay Janview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 747
JAN MACKAY (AUSTRALIAN, B.1950). WOMEN PROPOSE ...A NEW FEMINIST CINEMA 1978 COLOUR SCREENPRINT, 57 X 77CM. LINEN-BACKED. TEXT INCLUDES “2 PROGRAMMES: ‘IT’S NOT A BED OF ROSES’, NOV. 24 – DEC. 3. FILMS ON BODY IMAGE, FASHION & ROMANCE, RAPE, PRISON. ‘WITH BABIES AND BANNERS’, DEC. 8 – DEC. 17. FILMS ON MARRIAGE, MOTHERHOOD, CHILDCARE, WORK & CHANGE. A SEASON OF RECENT FILMS BY AUSTRALIAN WOMEN. FILMMAKERS CINEMA, ST PETERS LANE, DARLINGHURST.”
Robertson Toniview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 748
TONI ROBERTSON (AUSTRALIAN, B.1953). INTERNATIONAL WOMEN'S DAY 1978 COLOUR SCREENPRINT, “EARTHWORKS POSTER COLLECTIVE” LOGO IN IMAGE LOWER RIGHT, 50 X 75CM. LINEN-BACKED. TEXT CONTINUES “MARCH ON MARCH 11TH. ASSEMBLE TOWN HALL 10AM. FOOD, CONCERT & FILMS. PARIS THEATRE, 12 NOON.”
Gibbs Francis Blower 1815-1904view full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 762
FRANCIS BLOWER GIBBS (1815-1904), FARMHOUSE IN A LANDSCAPE, (Victoria?) WATERCOLOUR, SIGNED LOWER LEFT "F. B. GIBBS, 1877", 38CM X 55CM
Readett Charles Wood 1844 - 1917view full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 803
CHARLES WOOD READETT, (AUSTRALIAN, 1844 - 1917), "AUSTRALIAN STUDY" WATERCOLOUR, TITLED, SIGNED AND DATED "1900" LOWER LEFT, 53 X 36.5CM (IMAGE).
Ploughman W Rview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 813
W.R. PLOUGHMAN (AUSTRALIA), MARCHING TO THE KING'S INSPECTION, WATERCOLOUR, SIGNED LOWER LEFT "W.R. PLOUGHMAN", 63 X 40CM
McGlinn Eleanor (Nellie)view full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 832
ELEANOR (NELLIE) MCGLINN (AFTER), MELBOURNE, CIRCA 1840, OIL ON BOARD, SIGNED "C.H.", REMAINS OF EXHIBITION LABEL VERSO (ONLY PARTIALLY LEGIBLE), 39 X 81CM
Wallis Raymondview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 836 RAYMOND WALLIS (1900-1963), MEDITERRANEAN SCENE, OIL ON BOARD, SIGNED LOWER LEFT "RAYMOND WALLIS", 36 X 43CM PROVENANCE: WALLIS FAMILY ESTATE
Estimate$400 - $600

Lot 837 RAYMOND WALLIS (ATTRIBUTED), (1900-1963), FISHING OFF THE WHARF, OIL ON BOARD, 50 X 60CM PROVENANCE: WALLIS FAMILY ESTATE 
Estimate$600 - $800
Lot 838 RAYMOND WALLIS (ATTRIBUTED), (1900-1963), DOCK SCENE, OIL ON BOARD, 55 X 40CM PROVENANCE: WALLIS FAMILY ESTATE 
Estimate$400 - $600
Lot 839 RAYMOND WALLIS (ATTRIBUTED), (1900-1963), SELF PORTRAIT, OIL ON BOARD, 57 X 44CM PROVENANCE: WALLIS FAMILY ESTATE 
Estimate$600 - $800
Lot 840 RAYMOND WALLIS, (1900-1963), ABSTRACT, OIL ON BOARD, SIGNED LOWER CENTRE "R. WALLIS", 60 X 44CM PROVENANCE: WALLIS FAMILY ESTATE Estimate$400 - $600
Lot 841 RAYMOND WALLIS, (1900-1963), ABSTRACT, OIL ON BOARD, SIGNED LOWER RIGHT "R. WALLIS", 70 X 60CM PROVENANCE: WALLIS FAMILY ESTATE 
Estimate$400 - $600

Edwards A Eview full entry
Reference: see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020, Lot 852
A.E. EDWARDS (AUSTRALIAN), WHIM WORKING, AND POPPET HEAD SOVEREIGN HILL, OIL ON CANVAS BOARD, 39 X 50CM
Rawling Charles W 1901 - 1996view full entry
Reference: CHARLES W. RAWLING (AUSTRALIAN, 1901 - 1996) "BROKEN HILL 1925" A 1981 FOLIO CONTAINING SEVEN (7) ORIGINAL ETCHINGS, ALL NUMBERED 13/100 AND SIGNED BY THE ARTIST IN THE LOWER MARGINS.
Publishing details: 1981, offered at see Leski Auctions, AUSTRALIAN & HISTORICAL Auction (#457) 12/06/2020,
Ref: 1000
Feuerring Maximillianview full entry
Reference: Approximately 40 works by Feuerring were sent by Scheding Berry Fine Art to the auction house Raffan, Keleher & Thomas on 21 March, 2018 and were subsequently sold by them at auction.
A brief biography was provided:
Maximilian Feuerring

Maximilian Feuerring (1896-1985) was born into an orthodox Jewish family in Lvov, Poland. He arrived in Australia in 1950 and became a key figure in the post-war émigré cultural revolution.
 
His had studied at the Art School in Berlin (1916), Florence (1922), and Rome, Paris and Warsaw (1923-1927). In 1926 he gained a diploma with distinction at the Municipal School of Decorative Art, Rome. From 1934 - 1939 he taught at the Academy of Fine Arts, Warsaw. He was the leader of the Polish movement, the ‘New Generation’ which reacted against classical and nationalistic concepts in art. On the outbreak of World War II, he was called up as an officer in the Polish army and then imprisoned in a prisoner-of-war camp at Murnau in Upper Bavaria [See Archive of Australian Judaica, University of Sydney]. This period affected him profoundly, for 52 members of his family, including his wife and parents perished in the concentration camps. His life of starvation and hardship in the camp was tempered by art classes which he gave to his fellow officers, with material sent by the Red Cross. After the war, he taught at the Universitas International, Munich from 1947 – 1950. Like many others at the time Feuerring then left the tragedies of war-torn Europe to seek a new life in Australia.

Feuerrng was considered to be a very disciplined and committed painter and teacher, conducting an art school from his studios in Bellevue Hill and Woollahra, Sydney. He held an exhibition at the David Jones Art Gallery soon after his arrival in Australia but had few solo exhibitions after this. It seems that he had a rather prickly and ‘testy’ personality and local art dealers found him difficult to deal with [see Terry Ingram, ‘Saleroom’ column, Australian Financial Review, 16 November, 1989, p54]. He responded by submitting his paintings to international biennales such as San Paolo. However, between 1950 and 1980 Feuerring had 23 solo shows in Sydney, Melbourne and Adelaide.
 
While his paintings are impressionistic and semi-abstract, they reflect a classical artistic education. His work in Australia is characterized by strong colour and is often loaded with symbolism. An ongoing theme seems to be the search for survival.
 
His estate was auctioned on 9th November, 1989, and the highest price was $5600 for Artist and Model. Prior to this auction 10 works, including works done in a German prisoner-of-war camp, were selected by the National Gallery of Australia.
 
Further information is available from the audio tape: Maximilian Feuerring interviewed by Hazel de Berg in the Hazel de Berg collection, Bib ID 279877, in the National Library of Australia; and from ‘Biographical cuttings on Maximilian Feuerring, impressionist painter, containing… cuttings from newspapers or journals’ also in the NLA. The National Gallery of Australia holds an extensive artist file. The title of the chapter by Anne Bonyhady in The Europeans, Émigré artists in Australia 1930 – 1960, edited by Roger Butler, NGA, 1997, mentioned above, is ‘Maximilian Feuerring’s Three Suitcases’.

Schlubeck Aview full entry
Reference: see Galerie Bassenge
June 4, 2020, Berlin, Germany, lot 6362:
Ayers Rock (Uluru) in Uluru-Kata Tjuta National Park in Australia. Oil on canvas. 93 x 161 cm. Signed "A. Schlubeck" lower left. The masses of Kata Tjuṯa, in English "the Olgas", as well as Uluru, about 30 km away, better known as "Ayers Rock", rise imposingly over the flat desert of central Australia. The color spectacle that the red rock formations offer the viewer over the course of a day and year is impressive. The changing light conditions, shades and colors of the sandstone rocks between matt magenta, strong red, dark purple or delicate ocher have always cast a spell on people - including the Aborigines, to whom these mountains are considered sacred. The Aboriginal dream time legends also include the Uluru myth, which tells the story of the origin of this concise landscape and divides the mountain sides of Uluru into two mythical halves, the sunrise side (Djindalagul) and the sunset side (Wumbuluru). The origin of the Mutitjilda Gorge is of particular importance, because the rainbow snake Wanambi lives here, the most important dream figure of the Aborigines. Today the Uluru, which received its English colonial name "Ayers Rock" in 1873, is no longer accessible as a tourist destination. For the indigenous population of Australia, the Uluru is a sacred place that must not be entered and that is closely related to the process of creation from the dream time. The Kata Tjuta are also places for rituals of the local Aboriginal people, the Anangu. The mountains in the outback symbolize above all a journey to the roots of Australia's indigenous population. - Provenance: Christie's, London, auction on September 21, 2005: Exploration and Travel with the Polar Sale, lot 302. - We kindly ask you to request condition reports for the lots, as the condition is only given in exceptional cases in the catalog. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalog.
Uluruview full entry
Reference: see Galerie Bassenge
June 4, 2020, Berlin, Germany, lot 6362:
Ayers Rock (Uluru) in Uluru-Kata Tjuta National Park in Australia. Oil on canvas. 93 x 161 cm. Signed "A. Schlubeck" lower left. The masses of Kata Tjuṯa, in English "the Olgas", as well as Uluru, about 30 km away, better known as "Ayers Rock", rise imposingly over the flat desert of central Australia. The color spectacle that the red rock formations offer the viewer over the course of a day and year is impressive. The changing light conditions, shades and colors of the sandstone rocks between matt magenta, strong red, dark purple or delicate ocher have always cast a spell on people - including the Aborigines, to whom these mountains are considered sacred. The Aboriginal dream time legends also include the Uluru myth, which tells the story of the origin of this concise landscape and divides the mountain sides of Uluru into two mythical halves, the sunrise side (Djindalagul) and the sunset side (Wumbuluru). The origin of the Mutitjilda Gorge is of particular importance, because the rainbow snake Wanambi lives here, the most important dream figure of the Aborigines. Today the Uluru, which received its English colonial name "Ayers Rock" in 1873, is no longer accessible as a tourist destination. For the indigenous population of Australia, the Uluru is a sacred place that must not be entered and that is closely related to the process of creation from the dream time. The Kata Tjuta are also places for rituals of the local Aboriginal people, the Anangu. The mountains in the outback symbolize above all a journey to the roots of Australia's indigenous population. - Provenance: Christie's, London, auction on September 21, 2005: Exploration and Travel with the Polar Sale, lot 302. - We kindly ask you to request condition reports for the lots, as the condition is only given in exceptional cases in the catalog. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalog.
Stoddart Margaret Olrog 1865-1934view full entry
Reference: see International Art Centre
May 19, 2020, Auckland, New Zealand, 7 lots including:
MARGARET OLROG STODDART (1865 - 1934) Primroses, Watercolour, Signed & dated 1908, 15.5 x 23cm
Artist or Maker
MARGARET OLROG STODDART
Literature
Margaret Olrog Stoddart was born in Diamond Harbour, Canterbury, New Zealand in 1865, one of six children born to Mark Pringle Stoddart and Anna Barbara (nee Schjott). Margaret came from a prosperous and cultured family. Her aunt a noted painter in Edinburgh and her father an admiral's son from Edinburgh, who was fond of drawing, poetry and reading. In 1876 Stoddart was taken to visit relatives in Edinburgh where she briefly attended a ladies' college. After returning to New Zealand she enrolled at the Canterbury College School of Art (now known as Ilam School of Fine Arts) in its opening year in 1882. During this period she became a member of the Palette Club, an association of artists who were committed to working from nature. A keen tramper, she made numerous trips around Banks Peninsula and the Southern Alps, sketching the landscape and collecting specimens for studies of native plants. Before long she had established a reputation as one of the country's foremost flower painters, and in 1885 was elected to the council of the Canterbury Society of Arts. She spent time visiting friends in the Chatham Islands in both 1886 and 1891. Her travels were recorded in an album which is now held at the Canterbury Museum, along with 12 of her botanical paintings which they acquired in 1890. In 1894 Stoddart travelled to Melbourne, where with the support from Ellis Rowan, the Australian flower painter, she held a successful exhibition. In 1897 Stoddart left for Europe, visiting Norway and following the popular sketching routes through France, Switzerland and Italy. Her teachers included Norman Garstin, Louis Grier and Charles Lasal. While staying at St Ives in Cornwall, the centre for English impressionism, her artistic interests broadened and landscape clearly emerged as a principal theme. She exhibited widely during nine years away from New Zealand. In Paris she showed at the Salon of the Société des artistes français and the Société nationale des beaux-arts. At an exhibition in 1902 at the Baillie Gallery, London, her work was singled out for praise by the Sunday Times. Before leaving for New Zealand in 1906, she exhibited at the Royal Academy of Arts and with the Society of Women Artists. Stoddart's work continued to develop after her return from Europe. By confronting the starkness of the landscape and painting what became perceived as characteristic regional features, she made a significant contribution to the development of art in Canterbury in the 1920s and early 1930s. She exhibited at the Salon in Paris between 1909 and 1914, and was a regular exhibitor with New Zealand art societies. In 1928 a large retrospective exhibition of her work was held by the Canterbury Society of Arts. Margaret Stoddart died at Hanmer on 10 December 1934. Over the years she had won the admiration of critics and fellow artists and the respect of younger painters, including Rita Angus, Olivia Spencer Bower and Toss Woollaston. Dictionary of New Zealand Biography, Julie King, 1996
Grier Louis reference as teacherview full entry
Reference: see International Art Centre
May 19, 2020, Auckland, New Zealand, 7 lots including:
MARGARET OLROG STODDART (1865 - 1934) Primroses, Watercolour, Signed & dated 1908, 15.5 x 23cm
Artist or Maker
MARGARET OLROG STODDART
Literature
Margaret Olrog Stoddart was born in Diamond Harbour, Canterbury, New Zealand in 1865, one of six children born to Mark Pringle Stoddart and Anna Barbara (nee Schjott). Margaret came from a prosperous and cultured family. Her aunt a noted painter in Edinburgh and her father an admiral's son from Edinburgh, who was fond of drawing, poetry and reading. In 1876 Stoddart was taken to visit relatives in Edinburgh where she briefly attended a ladies' college. After returning to New Zealand she enrolled at the Canterbury College School of Art (now known as Ilam School of Fine Arts) in its opening year in 1882. During this period she became a member of the Palette Club, an association of artists who were committed to working from nature. A keen tramper, she made numerous trips around Banks Peninsula and the Southern Alps, sketching the landscape and collecting specimens for studies of native plants. Before long she had established a reputation as one of the country's foremost flower painters, and in 1885 was elected to the council of the Canterbury Society of Arts. She spent time visiting friends in the Chatham Islands in both 1886 and 1891. Her travels were recorded in an album which is now held at the Canterbury Museum, along with 12 of her botanical paintings which they acquired in 1890. In 1894 Stoddart travelled to Melbourne, where with the support from Ellis Rowan, the Australian flower painter, she held a successful exhibition. In 1897 Stoddart left for Europe, visiting Norway and following the popular sketching routes through France, Switzerland and Italy. Her teachers included Norman Garstin, Louis Grier and Charles Lasal. While staying at St Ives in Cornwall, the centre for English impressionism, her artistic interests broadened and landscape clearly emerged as a principal theme. She exhibited widely during nine years away from New Zealand. In Paris she showed at the Salon of the Société des artistes français and the Société nationale des beaux-arts. At an exhibition in 1902 at the Baillie Gallery, London, her work was singled out for praise by the Sunday Times. Before leaving for New Zealand in 1906, she exhibited at the Royal Academy of Arts and with the Society of Women Artists. Stoddart's work continued to develop after her return from Europe. By confronting the starkness of the landscape and painting what became perceived as characteristic regional features, she made a significant contribution to the development of art in Canterbury in the 1920s and early 1930s. She exhibited at the Salon in Paris between 1909 and 1914, and was a regular exhibitor with New Zealand art societies. In 1928 a large retrospective exhibition of her work was held by the Canterbury Society of Arts. Margaret Stoddart died at Hanmer on 10 December 1934. Over the years she had won the admiration of critics and fellow artists and the respect of younger painters, including Rita Angus, Olivia Spencer Bower and Toss Woollaston. Dictionary of New Zealand Biography, Julie King, 1996
Rowan Ellis reference view full entry
Reference: see International Art Centre
May 19, 2020, Auckland, New Zealand, 7 lots including:
MARGARET OLROG STODDART (1865 - 1934) Primroses, Watercolour, Signed & dated 1908, 15.5 x 23cm
Artist or Maker
MARGARET OLROG STODDART
Literature
Margaret Olrog Stoddart was born in Diamond Harbour, Canterbury, New Zealand in 1865, one of six children born to Mark Pringle Stoddart and Anna Barbara (nee Schjott). Margaret came from a prosperous and cultured family. Her aunt a noted painter in Edinburgh and her father an admiral's son from Edinburgh, who was fond of drawing, poetry and reading. In 1876 Stoddart was taken to visit relatives in Edinburgh where she briefly attended a ladies' college. After returning to New Zealand she enrolled at the Canterbury College School of Art (now known as Ilam School of Fine Arts) in its opening year in 1882. During this period she became a member of the Palette Club, an association of artists who were committed to working from nature. A keen tramper, she made numerous trips around Banks Peninsula and the Southern Alps, sketching the landscape and collecting specimens for studies of native plants. Before long she had established a reputation as one of the country's foremost flower painters, and in 1885 was elected to the council of the Canterbury Society of Arts. She spent time visiting friends in the Chatham Islands in both 1886 and 1891. Her travels were recorded in an album which is now held at the Canterbury Museum, along with 12 of her botanical paintings which they acquired in 1890. In 1894 Stoddart travelled to Melbourne, where with the support from Ellis Rowan, the Australian flower painter, she held a successful exhibition. In 1897 Stoddart left for Europe, visiting Norway and following the popular sketching routes through France, Switzerland and Italy. Her teachers included Norman Garstin, Louis Grier and Charles Lasal. While staying at St Ives in Cornwall, the centre for English impressionism, her artistic interests broadened and landscape clearly emerged as a principal theme. She exhibited widely during nine years away from New Zealand. In Paris she showed at the Salon of the Société des artistes français and the Société nationale des beaux-arts. At an exhibition in 1902 at the Baillie Gallery, London, her work was singled out for praise by the Sunday Times. Before leaving for New Zealand in 1906, she exhibited at the Royal Academy of Arts and with the Society of Women Artists. Stoddart's work continued to develop after her return from Europe. By confronting the starkness of the landscape and painting what became perceived as characteristic regional features, she made a significant contribution to the development of art in Canterbury in the 1920s and early 1930s. She exhibited at the Salon in Paris between 1909 and 1914, and was a regular exhibitor with New Zealand art societies. In 1928 a large retrospective exhibition of her work was held by the Canterbury Society of Arts. Margaret Stoddart died at Hanmer on 10 December 1934. Over the years she had won the admiration of critics and fellow artists and the respect of younger painters, including Rita Angus, Olivia Spencer Bower and Toss Woollaston. Dictionary of New Zealand Biography, Julie King, 1996
Hill Gregory S photographer exhibited in Australiaview full entry
Reference: see Helmuth Stone auction, May 17, 2020,
Sarasota, FL, US
Gregory S. Hill (California, B. 1944) "Moored" Signed lower left. Oil on Canvas. Signed, dated (Sept. 1975), Titled, and inventory number verso. GS Hill opened his first gallery in Seal Beach, CA in 1969. By 1972 he was once again traveling; this time with his wife, Judi. He painted and sketched as they traveled, selling the work in summer art fairs, until settling in Maui in 1974. During the next decades, one man shows in Europe, Japan, Australia, the Hawaiian Islands and eventually Nantucket established GS Hill solidly among collectors. Hill?s first exhibit on Nantucket was at the Harbour Gallery, on Old South Wharf.

Sight Size: 23.5 x 35.5 in.
Overall Size: 31.25 x 43 in.
Koether Thomas (New York, Florida, Europe, Australia, b. 1940)view full entry
Reference: see HELMUTH STONE GALLERY auction, lot 185, 17 May, 2020:
Thomas Koether (New York, Florida, Europe, Australia, b. 1940) Abstract Painting. Titled: "The Great Sandy Desert" Oil on Canvas. Signed lower right / signed verso. Overall Size: 40 x 48 in. (359 - 4282)In 1960, Koether was accepted to the school of the Art Institute of Chicago at age 20. In 1963 Koether Moved to New York City and started going to the Art Students League. In June of 1966 he graduated with honors from N.Y.U. and was accepted to the N.Y.U. graduate school of Communications Arts in Cinematography under Haig Manoogian. In 1970, he moved to Paris to take a studio space at the American Center on Boulevard Raspail. In July of ’71 Koether went to Italy and did a lot of drawing and watercolors. In Florence he met Italian art restorers and learned a lot about restoration from them. That same year, he participated in a group show at the American Center and sold several pieces – one to director Henry Pillsbury. The work from Ibiza and Paris dealt with attempts to delineate abstraction as a form with his own experience of his own abstractness – landscapes and still-lives of his own psychic and emotional space. This work has a post-psychedelic aspect. In 1974 Koether moved back to New York and worked in N.Y.C. as an art restorer with Roger Ricco Associates. That year, he had a one man show at Ajanta Gallery on East 9th Street. In 1976, Koether moved to Australia and established an art conservation business and worked on the 5 major collections of Oceanic art in Australia. ONE PERSON SHOWS 2001 SRQ ON MAIN, Sarasota, Florida 1996 TAMPA ELECTRIC CO., TECO PLAZA, Tampa, July 1 – July 31, Marilyn Mars, Curator 1995 KOETHER – NEW OILS, Nations Bank Executive Headquarters, Sarasota, Florida 1993 MATRIX, Renegade Gallery, East Hampton, New York 1992 KOETHER, A NEW EDGE, Renegade Gallery, East Hampton, New York 1989 AUSTRALIAN ROCK AND WATER, Gochenhaur Gallery, Delray Beach, Florida 1987 TOM KOETHER, EXPATRIATE PAINTINGS, Curator: Nick Pearson, Ashawagh Hall, East Hampton, NY 1988 KOETHER, Recent work from New York, Cape Gallery, Byron Bay, N.S.W., Australia 1986 TOM KOETHER, RECENT PAINTINGS, AUSTRALIAN EXPERIENCE, Ashawagh Hall, East Hampton NY 1985 PAINTINGS FROM EAST HAMPTON, Curators: Dane Dixon and Steve Loschen, Ashawagh Hall, NY 1983 KOETHER, Outback Australian Gallery, Curator: Gate Fynn, 382 W. Broadway, New York, NY 1974 AJANTA GALLERY, New York, New York 1973 St. Croix, Virgin Islands 1972 St. Croix, Virgin Islands 1971 Ars Bar, Ibiza, Spain 1970 Ars Bar, Ibiza, Spain 1969 Ars Bar, Ibiza, Spain 1969 KOETHER, DRAWINGS, Mahogany Inn, St. Croix, Virgin Islands SELECTED GROUP AND JURIED SHOWS 2002 TOM KOETHER, STEVE LOSCHEN RECENT PAINTINGS, Ashawagh Hall, East Hampton, NY 1996 Represented by KLABAL GALLERY, 363 12th Avenue South, Naples, Florida 1995 ART FOR LIFE, Juried Voice Auction, Jurors Marilyn Mars, Arts Impact, and Emily Kass, Exec Director, Tampa Museum 1994 SARASOTA VISUAL ARTS CENTER, Autumn Annual, Juror Tiffani Szilage, St. Petersburg Center for the Arts, Exhibition Coordinator, St. Petersburg, Florida 1994 GREATER TAMPA CHAMBER OF COMMERCE, Executive Exhibition, Juror Marilyn Mars, Arts Impact, Tampa, Florida 1994 KOETHER, ASHAWAGH ’94, Loschen, Najdzionek, Strong/Cuevas, Grove, and Briscoe, East Hampton, NY 1992 SOUTH COBB ART ALLIANCE 7TH NATIONAL JURIED ART EXHIB., Juror: Larry Walker, Prof. of Art at Georgia-State University 1991 KOETHER, GOCHENOUR, Ashawagh Hall, East Hampton, New York 1990 KOETHER, LOSCHEN, Ashawagh Hall, East Hampton, New York 1990 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 FICKERA, KOETHER, LAWRENCE, Ashawagh Hall, East Hampton, New York 1989 M. CAIN SCULPTURE TOM KOETHER, STEVE LOSCHEN, PAINTINGS, Ashawagh Hall, East Hampton, New York 1989 DRAWING THE LINE, Curator: Kay Jeffed, Tweed River Regional Art Gallery, Murwilumbha, Australia 1989 BLOSSOMS, The Gallery at Bryant Library, Roslyn, New York 1988 HUNTINGTON TOWN ART LEAGUE ANNUAL, Huntington, New York 1988 BEYOND STATUS QUO, The Gallery at Bryant Library, Roslyn, New York 1988 WATER, WATER EVERYWHERE, The Gallery at Bryant Library, Roslyn, New York 1988 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1987 EGBERT, KOETHER, LOSCHEN, LAWRENCE, Ashawagh Hall, East Hampton, New York 1986 PLASTO GALLERY, Mullumbimby, N.S.W., Australia 1986 SOUTHPORT ART SHOW, Southport, Queensland, Australia 1986 GOLD COAST CITY ART INVITATIONAL, Gold Coast City Art Prize, purchase, Gold Coast, Queensland, Australia 1985 ST. ALBANS COLLEGE EXHIBITION, Honorable mention, Southport, Australia 1985 N.P.U. QUEENSLAND EXHIBITION, purchase price, Cape Gallery, Bryon Bay, N.S.W., Australia 1971 LE CENTER AMERICAN, Paris, France
Kuijpers Theo view full entry
Reference: see Bubb Kuyper Auctioneers of Books, Manuscripts and Fine Art, auction 28 May, 2020, Haarlem. Theo Kuijpers, T.G.W. (b.1939). "Australië". Large drawing, pastel crayon, gouache and pencil, 70x100 cm., signed "Theo Kuijpers", titled and "'79", framed.
McWilliams Michaelview full entry
Reference: see Lauraine Diggins Fine Art, May, 2020:MICHAEL  McWILLIAMS  1956 - 
Knee Deep in the Willows  2003
synthetic polymer on composition board
120 x 240 cm
 
Knee Deep in the Willows depicts a Friesian cow stranded in the mud and includes a frustrated farmer, hands on hips, on the other side of the river, contemplating the next move. The scene is inspired by the artist’s wanderings amongst the willows near his home in northern Tasmania, either fishing or with his dogs, where he is often confronted with a Friesian cow strayed from nearby grazing paddocks. Humans are rare in McWilliams’ painting. However, recent works introduce a human dialogue into his usual animal inhabited world. 
A further treasure in this painting is a Thylacine or Tasmanian Tiger hidden in the shadows, a subtle conservationist statement from the artist who is passionate about their ongoing existence despite human intervention in their environment.
McWilliams’ craft has evolved from smaller scale works, particularly painted wooden panels or painting on furniture, to larger scale canvases where the landscape is the focus. Much of McWilliams' knowledge of antiques was acquired during his teenage years when he travelled with his father on buying trips around Tasmania for their antique shop in Longford. McWilliams explains "I started painting on furniture simply because I liked the old timber, and it was at hand. I enjoy painting things that are close to me: water, trees and mountains, and familiar local animals." 

In many of his works, it’s a fleeting moment in nature that he captures and preserves. The viewer curious to see what is inside is presented with a delightful surprise. The element of hidden surprise adds an extra dimension to McWilliams’ painting. Look carefully at the artworks as those who undertake the treasure hunt will be rewarded with a glimpse of a thylacine, a favoured motif of the artist. Like many, he is incredulous that human intervention could cause the extinction of this species and hopes that perhaps there are still a few Tasmanian Tigers out there, hiding in the shadows as they are in his paintings. McWilliams has been interested in the Thylacine since he was a child, McWilliams explains "I’ve drawn it since I was small, and have always tried to imagine what it would be like to see one and to consider different relationships we could have, like having one for a pet. I try to imagine them into my life." 

The added element of fun and humour is a familiar trait in Michael’s work although it does not detract from his environmental message which prompts the viewer to question the relationship between humans and animals, whether wild or domestic; the relationship between native and introduced species; and the relationship between humans and the environment and the impact this has made for native species in particular.
 
AWARDS
2016    Winner, Children’s Choice, John Glover Art Prize for Tasmanian Landscape
2015    Winner, People’s Choice, John Glover Art Prize for Tasmanian Landscape, Tasmania
2014    Winner, People’s Choice, Hanger’s Choice, John Glover Art Prize for Tasmanian Landscape
2013    Winner, Children’s Choice, John Glover Art Prize for Tasmanian Landscape, Tasmania
2012    Winner, People’s Choice, Bay of Fires Art Prize, St Helens, Tasmania
2011     John Glover Art Prize for Tasmanian Landscape, Tasmania, finalist
2010    Wynne Prize for Landscape, Art Gallery of New South Wales, Sydney, Finalist
2010    John Glover Art Prize for Tasmanian Landscape, Tasmania, finalist
2008    Wynne Prize for Landscape, Art Gallery of New South Wales, Sydney, Finalist
2008    The Waterhouse Natural History Art Prize, The South Australian Museum, Winner
2008    John Glover Art Prize for Tasmanian Landscape, Tasmania, Hon. Mention
2008    Fleurieu Biennale Art Prize, South Australia
2007    John Glover Art Prize for Tasmanian Landscape, Tasmania
2006    John Glover Art Prize for Tasmanian Landscape, Tasmania, Hon. Mention
2005    The Waterhouse Natural History Art Prize, The South Australian Museum, Winner
2004    John Glover Art Prize for Tasmanian Landscape, Tasmania, Winner
1996    Tasmanian Art Award, Eskleigh, Perth, Tasmania, Winner
1994    Trust Bank Open Art Award, Launceston, Tasmania, Winner
 
COLLECTIONS
Queensland Art Gallery                                  Danish Royal Family
Tasmania Museum and Art Gallery                Powerhouse Museum, Sydney
Natural Trust of Australia (Tasmania)             Parliament House, Canberra
Devonport City Art Gallery                             The Glover Society
Museum of South Australia                            Lauraine Diggins, Melbourne
Queen Victoria Museum and Art Gallery, Tasmania

Landscape Art of the Illawarra Regionview full entry
Reference: Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ BSc DipArchAdmin.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Ref: 1009
Felton Maurice (c1805-1842)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ BSc DipArchAdmin.
Maurice Felton (c1805-1842)
Maurice Felton is perhaps best known as a portrait painter, though he did produce a number of landscapes, including the following views at Balgownie and Tom Thumb's Lagoon, Illawarra, in 1840.
1. Balgownie House, Illawarra, Oct. 1840
Oil 18.4 x 28.5 ML349. Missing since 1973.
2. Tom Thumb's Lagoon 1840
Oil 34 x 57.4 Private
3. Mount Keira - a view painted on the estate of Captain James Shoobert 1840
W/C 25.5 x 36.4 ML V1B/Keira M/1
The third work listed above is possibly also by Felton, though attribution is uncertain. The Captain Shoobert mentioned was involved in the coastal trade between Illawarra and Sydney from 1828, before finally settling in the district near Mount Keira . As early as 1828 he had shown interest in mining the local coal seams, and was later to open the first coal mine at Illawarra in 1849. One of his Illawarra landscapes was reviewed in the Sydney Morning Herald during October 1841. References: Buscombe (1978), Kerr (1992), McDonald & Pearce (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Mason Walter George view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Walter George Mason
Illawarra views were published in his Australian Picture Pleasure Book ( Sydney , 1857). They were largely plates taken from the Illustrated Sydney News:
1. View of the town of Wollongong , Illawarra, NSW
Engraving 12 x 18 NLA U795
2. Entrance to Mount Keira Coal Mine, Illawarra, NSW
Engraving 20 x 16 NLA U793
3. View of Dapto, Illawarra, NSW
Engraving 12 x 20 NLA U797

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Backler Joseph (1813-1895)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ
Joseph Backler (1813-1895)
1. Portrait of James Colley of Kiama
Oil 88 x 68 Grey 3/80. References: Bayley (1976), Kerr (1992), Craig (1982), Australian Antique Collector, July 1993.
1841-76
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Prout John Skinner (1801-1876)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ
John Skinner Prout (1801-1876)
John Skinner Prout arrived in Sydney in December 1840 after a successful career in England . He was accompanied by his family and had imported a lithographic press with which he hoped to supplement his income as a professional artist and printer. In July 1841 he travelled by steamer to Broulee, on the New South Wales south coast near Ulladulla. During late December 1843 and early January 1844 he visited Wollongong , sketching both the neighbouring landscape and local Aborigines including Old Frying Pan and Yannah Wah. This took place just prior to his leaving New South Wales for Tasmania . Many of Prout's Illawarra landscapes were subsequently reproduced in Edwin Carton Booth's Australia Illustrated, published in London between 1873-76. The engravings are very fine reproductions of Prout's original watercolours. References: Booth (1873-76), Brown & Kolenberg (1986), Kerr (1992).
Broulee
1. Bush, Broulee July 41
P 24.2 x 16.2 DL PX49 f.9
2. Broulee, 80 miles south of Sydney
W/C 19.8 x 29.8 ML 389
3. Inner Harbour , Broulee
Lithograph 22 x 32.3 ML
4. Broulee
Engraving 18.4 x 21.4. Published in Booth, 1873-76, opposite p101. Engraved by T. Heawood.
Illawarra
5. Fairy Lake , Woolongong `Decr.29.43
W/C Private
6. Fairy Lake , New South Wales
W/C 26 x 36.7 Private. Illustrated Brown, July 1975.
7. Fairy Lake , New South Wales
Engraving 18.4 x 21.4. Published in Booth, 1873-76, opposite p154. Engraved by A. Willmore.
8. Tom Thumb's Lagoon, Illawara Jany 1st. 44
Pencil Private
9. Tom Thumbs Lagoon 1844
W/C 38 x 58 Private. Illustrated Christies, 28 July 1990 , cat 19, colour.
10. Tom Thumbs Lagoon, New South Wales
Engraving 18.4 x 21.4. Published in Booth, 1873-76, opposite p148. Engraved by E. Brandard .
11. Ferns & Cabbage Trees, Bulgonie - Illawarra – New South Wales , Jany.4.44
Pencil Private
12. The Southern Beach looking towards Woolongong, Illawara Jany 5.44
Pencil Private
13. Old Frying Pan, Wollongong Jan 6 1844
W/C & white 15.8 x 10 British Museum. Illustrated Brown & Kolenberg, 1986, p41.
14. Yanna Wah, Illawarra , New South Wales
W/C & white 23.8 x 17.3 British Museum
15. Fern & Cabbage Trees. Mount Keira. Illawara. NSW Jany 8.44
Pencil Private
16. Mount Kembla , Illawarra Jany 8th 44
P & White 16.2 x 24.2 DL PX49 f.4
17. Mount Keira , New South Wales , 1844
W/C & white 40 x 30 Allport Library
18. Mount Keira , New South Wales
W/C 36 x 26 DGD16 f.12. Illustrated McDonald, 1985, p57, colour.
19. Mount Keira , New South Wales
Engraving 18.4 x 21.4. Published in Booth, 1873-76, opposite p148. Engraved by A. Willmore. Illustrated Ritchie, 1989, p117.
20. Gully at Wollongong
W/C 36.8 x 27.2 DGD16 f.6. Illustrated McDonald, 1985, p56, colour; Ritchie, 1989, p91.
21 Gully at Woolongong
Engraving 18.4 x 21.4. Published in Booth, 1873-76, opposite p150. Engraved by T. Heawood.
22. Lake Illawarra , New South Wales
W/C & white 27.2 x 38.9 ML PXD75 f.5. Illustrated Brown & Kolenberg, 1986, p38.
23. Lake Illawarra , New South Wales
Engraving 18.4 x 21.4.. Published in Booth, 1873-76, opposite p151. Engraved by E. Brandard .
24. Native Encampment by Tom Thumb's Lagoon 1844
W/C 38 x 58 Private. Illustrated Christies, 28 July 1990 , cat 19, colour
25. Native Encampment
W/C 26.7 x 38.1 DG D16 f.5. Illustrated Watkins, 1984; Brown & Kolenberg, 1986, p40.
26. Native Encampment
Engraving 18.4 x 21.4. Published in Booth, 1873-76, opposite p164. Engraved by C. Cousen. Illustrated Ritchie, 1989, p31.
27. Wollongong Harbour
Lithograph 27.2 x 42.3 Private. View of Wollongong Harbour , no date.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Elyard Samuel (1817-1910)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ
Samuel Elyard (1817-1910)
Samuel Elyard was born in Sydney in 1817. As a young artist he was strongly influenced by both Conrad Martens and John Skinner Prout, turning from an early interest in portraiture to concentrating on landscapes. His family had settled in the Shoalhaven district during the 1830s and, after a somewhat erratic youth and career in the public service in Sydney, Samuel was to spend his latter years in the Shoalhaven painting and experimenting with photography. Throughout the 1840s Elyard produced numerous views around Sydney , but from the 1870s he concentrated on the Shoalhaven district. He was most at ease with watercolour. References: Watkins (1982), Kerr (1992), France (1988), Campbell (1989), Edwards & Gowing (1989).
1. Study - Coastal Forest 1842
P & wash 31 x 24 Private
2. Nowra 27 Apr. 56
W/C 27.6 x 45 DG*D15-5 f.46
3. Cruikhaven Creek, Nowra 1868
W/C 31 x 51 Christies 31/10/90 .
4. The Great Shoalhaven Flood 1870
W/C 34.5 x 72.4 Shoalhaven. Illustrated Watkins, 1982, p34.
5. Terrara Church of England 1871
W/C 34 x 53 Shoalhaven
6. Native Gunyah Jan. 1871
W/C 32.3 x 50.3 AGNSW. Illustrated Watkins, 1982, p37.
7. Graham Greenhills 6 a.m. looking S.W. Dec. 71
W/C 30.7 x 50.0 DG*D22 f.15
8. Mr Lovegrove's Residence, Terara Tu. 12 March 72
W/C 52.6 x 35.7 DG D22 f.24
9. From Stump near gate 7am . Nowra 29 Nov 72
W/C 27.1 x 28.8 DG*D15-2 f.44
10. Nowra Creek, N.S.W. 1872
W/C McClelland
11. Old Houses in Nowra c1873
W/C 28.6 x 51.3 Shoalhaven. Illustrated Watkins, 1982, p35.
12. Alexander Berry's windmill, Coolangatta c1875
W/C 24 x 25.2 Private. Illustrated Watkins, 1982, p44.
13. Old and new Roman Catholic churches, Nowra 12 Feb 77
W/C 23.8 x 48.8 DG D22 f.23
14. Nowra Presbyterian Church, North Street and Kinghorn Street 1877
W/C 32.8 x 64.6 Shoalhaven. Illustrated Watkins, 1982, p5.
15. Presbyterian Church, Graham's Swamp in Foreground 1877
W/C 26.5 x 43 Shoalhaven. Illustrated Watkins, 1982, p37.
16. Boats under Construction, end of Shoalhaven Street 1877
W/C 27.9 x 45.8 Shoalhaven. Illustrated Watkins, 1982, p38.
17. Brown's Mill 1877
W/C 27.2 x 45.8 Shoalhaven. Illustrated Watkins, 1982, p37.
18. Hole in the Wall, Jervis Bay 1877
W/C 27.2 x 44.2 Private. Illustrated Watkins, 1982, p37.
19. The Old Lighthouse, Cape St George, Jervis Bay c1877
P 24.1 x 37 Shoalhaven. Illustrated Watkins, 1982, p37.
20. The Old Lighthouse, Cape St George, c1877
W/C 24.1 x 37 Private
21. Cruikhaven River & 7 Mile Beach October 78
W/C 34.7 x 71.0 DG D22 f.13
22. At Yalwall, near Gold Reef on Daugera Creek 1878
W/C AGWA
23. Pilot Station, Crookhaven Heads c1878
W/C 28 x 52.1 Shoalhaven. Illustrated Watkins, 1982, p47.
24. Moena, Mr David Berry's Brigantine 1879
W/C 30.5 x 41.8 Shoalhaven. Illustrated Watkins, 1982, p39.
25. Shoalhaven River Bridge under Construction c1879
W/C 29 x 46 Shoalhaven. Illustrated Watkins, 1982, p40.
26. Tory's House, Nowra 1880
W/C 35.4 x 52.4 DG D22 f.19
27. Scene of Nowra c1880
W/C 33 x 67.4 Shoalhaven. Illustrated Watkins, 1982, p46.
28. Shoalhaven River at Nowra c1881
W/C 41 x 63.3 Shoalhaven. Illustrated Watkins, 1982, p40.
29. Nowra June 1882
W/C 36.6 x 54.7 DG D5 f.10
30. Nowra Parsonage & School 23 Oct 83
W/C 28.8 x 47.8 DG*D22 f.14
31. Cordell Cottage 24 Sep. 84
W/C 26.7 x 26.4 DG*D22 f.13
32. White Cottage 1884
W/C 38.3 x 58.5 Shoalhaven. Illustrated Watkins, 1982, p41.
33. The Gunyah 1884
W/C 23.2 x 36.6 DG*D22 f.5
34. Nowra Mill at Sunset c1885
W/C 31 x 51 Shoalhaven
35. Nowra Township c1886
W/C 35.6 x 71.2
36. Aboriginal Corroboree 1890
W/C Unknown. Illustrated Watkins, 1982, p20.
37. Entrance to Shoalhaven River c1890
W/C 29 x 49 Shoalhaven
38. From Corner of R. & Showground look E. 7 Oct. 91
W/C 27.4 x 55.0 DG D22 v2 f.22
39. From Corner of R. & Showground look E. 7 Oct. 91
W/C 27.4 x 55.0 DG D22 v2 f.22v
40. Mr Green's Old Store 29th July 96
W/C 27.4 x 40.5 DG*D15-3 f.47
41. From Green Flat 20 Aug. 96
W/C 26.2 x 43.1 DG*D22 f.27
42. Nowra 29th Sep. 1896
W/C 31.2 x 48.4 DG*D22 f.10
43. Shoalhaven River , N.S.W. 1905
W/C & P AGWA
44. Worrigee Swamp , Shoalhaven
W/C AGWA
45. McArthur's store at Terrara c1871 (Greenhills Iron Store)
W/C 35.7 x 66.6 DG D22 v2 f.21
46. Shoalhaven River
W/C 19 x 24 Sothebys 4/86
47. Meroogal
W/C Meroogal
48. Farmhouse
W/C 18.3 x 31.1 Shoalhaven. Illustrated Watkins, 1982, p41
49. The Island , Shoalhaven River
W/C 31 x 43 Shoalhaven. Illustrated Watkins, 1982, p43
50. House below cliffs - McMahon's Point, Nowra North
W/C 39.4 x 58.5 Shoalhaven. Illustrated Watkins, 1982, p44
51. Red Cottage, Nowra
W/C 35.6 x 53.4 Shoalhaven. Illustrated Watkins, 1982, p45
52. Shoalhaven Riverbank
P & W/C 43.8 x 63.5 Shoalhaven. Illustrated Watkins, 1982, p45
53. Scene of Nowra Township
W/C 36.9 x 68 Shoalhaven. Illustrated Watkins, 1982, p46
54. View showing Methodist Ch., Woodhills E. Nowra
W/C 29.8 x 47.8 DG*D22 f.11
55. From N. end of a fence [Rectory of Church of England, Nowra]
W/C 27.1 x 44.0 DG*D22 f.8
56. Nowra, Green Hills Sawmills
W/C 33.0 x 60.4 DG D22 v2 f.20
57. Jervis Bay lighthouse
W/C 52.6 x 35.7 DG D22 v2 f.14
58. Farm House, Cabbage Tree Creek, Shoalhaven River
W/C 38.4 x 55.3 DG D22 v2 f.15
59. Cape St. George lighthouse, Jervis Bay
W/C 45.5 x 71.2 DG D22 v1 f.3
60. Cambewarra Mts. & Farm, Nowra Bridge in distance
W/C 36.6 x 52.4 DG D22 v2 f.7
61. Cambewarra Mt. & Farms
W/C 35.7 x 52.4 DG D22 v2 f.16
62. Old Houses in Nowra ... from nature
W/C 35.7 x 50.8 DG D22 v2 f.18
63. Gunyah
W/C 23 x 32 Shoalhaven. Illustrated Watkins, 1982, p42
64. Shoalhaven landscape
W/C 25 x 39 AAA, 11/83

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Browne J (1822-1875)
view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ
J. Browne (1822-1875)
Not much is known of the artist J. Browne apart from the information gleaned from his album of pencil and wash sketches in the Mitchell Library (ML PXA1689). From that album we know that he was at Twofold Bay in 1843 and 1847; at Tasmania in 1845-6 and 1851; and on the Victorian goldfields during 1852. Sketches of Candelo, Wolumla, and Kamaruka (all located on the far South Coast , between Bega and Twofold Bay ) are also included. Browne appears to have worked briefly with the artist Oswald Brierly, who was superintendent at Twofold Bay . The numerous highly detailed drawings of Aborigines contained in his sketchbook also thought to be from the Twofold Bay - Bega area. References: Kerr (1992).
1. Eden , Twofold Bay, Ben Boyd's Whaling Boats
W/C 19.8 x 33.9 DG SV1B/38
2. Fish caught in Twofold Bay ... Augt. 1843
W/C ML PXA1689 f.117
3. Bay whaling, Twofold Bay Australia
P ML PXA1689 f.24. Similar to a work by Oswald Brierly.
4. Tororaqua Twofold Bay 1843
P ML PXA1689 f.25
5. Twofold Bay
P ML PXA1689 f.26
6. Coastal scene, Twofold Bay ?
P ML PXA1689 f.27
7. Twofold Bay
P ML PXA1689 f.28
8. Tarrumbullima Twofold Bay 1847
P ML PXA1689 f.29. The residence of Oswald Brierly.
9. Near Candalo
P ML PXA1689 f.31
10. Candalo
P ML PXA1689 f.32
11. Candalo
P ML PXA1689 f.33
12. Wolumla
P ML PXA1689 f.34
13. Woolshed Kamaruka
P ML PXA1689 f.35
14. Kamaruka
P ML PXA1689 f.36
15. Tarraginda
P ML PXA1689 f.37
16. Maneroo
P ML PXA1689 f.53
17. Kurre djer Bark Canoe ... Twofold Bay
P & W/C ML PXA1689 f.61
18. Horsemen talking with Aborigines
P ML PXA1689 f.5
19. Aborigines with spears at waterside
Ink & wash ML PXA1689 f.52
20. Aboriginal women fishing
P ML PXA1689 f.54
21. Aborigines' camp
P ML PXA1689 f.55
22. Aborigines in humpeys
P ML PXA1689 f.56
23. Aborigines with spears climbing rocks
P ML PXA1689 f.57
24. Aborigine hunting in bush
P ML PXA1689 f.58
25. Australia - white man sleeping in humpy
P ML PXA1689 f.59
26. Aborigines fishing from canoes
P ML PXA1689 f.60
27. Aborigines in canoe fishing
P ML PXA1689 f.62
28. Aborigines in forest making spears
P ML PXA1689 f.63
29. Aborigines' camp - men carving
P ML PXA1689 f.64

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Brierly Oswald (1817-1894)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ
Oswald Brierly (1817-1894)
Oswald Brierly was superintendent of Benjamin Boyd's whaling establishment at Twofold Bay during the early 1840s. He was a competent artist, and Twofold Bay works by him with Aboriginal and marine subjects.Landscapes of the area are also included in the Mitchell Library volume. References: Thomas (1988), Campbell (1989), Edwards & Gowing (1989).
1. Mafra - Maneroo, N.S.W.
P ML PXD81 f.2
2. Plains of Maneroo
P ML PXD81 f.3
3. Rocks at Tororoga, Twofold Bay
P ML PXD81 f.4
4. Australian Gin Twofold Bay June 29th 1843
P ML PXD81 f.5
5. Char-ree-uerro Twofold Bay Sept 5 1843
W/C ML PXD81 f.6
6. Twofold Bay Canoe
P ML PXD81 f.8
7. Budingbro, Chief of Twofold Bay Tribe, N.S.W.
W/C ML PXD81 f.9. Reproduced Dutton, 1974, plate 54, b/w.
8. Twofold Bay - Native Canoe
W/C ML PXD81 f.10
9. Mur-rowra Esqr. Bundyang
P ML PXD81 f.11
10. Aborigines seated in a canoe
P ML PXD81 f.12
11. Aboriginal woman in canoe offering fruit
P ML PXD81 f.13
12. Sketch map of Twofold Bay
P & ink DG D19 f.3
13. Camp Beermuna , Twofold Bay, Decr. 16th 1842
P 22 x 40.7 DG D19 f.4
14. Camp 2 Jany. 43
P 12.7 x 20.2 DG D19 f.5
15. Toby's Gin, Twofold Bay, Jany 9th 1843
P & W/C 23.3 x 18.6 DG D19 f.6
16. Fish caught in Twofold Bay , Australia
W/C 19.9 x 31.9 DG D19 f.7
17. Amateur whaling, or A Tale of the Pacific 1847
W/C 47 x 95.7 Private. Based on an event off Twofold Bay . Illustrated Thomas, 1988, p59; Jones, 1988, p122; Campbell, 1989, p33
18. Whalers off Twofold Bay 1867
W/C & gouache 86.3 x 147.7 AGNSW
19. The Wanderer off Twofold Bay
W/C Pickles 11/77

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Waugh James W & A H view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ
James W. Waugh & A.H. Waugh
The Waugh's were settlers in the Kiama district in the 1840s. James W. Waugh was at one time manager of the Woodstock Mills, Jamberoo. His brother David Lindsay Waugh purchased the Waugh Hope property at Jamberoo in 1845. In his Illawarra Sketches c1843-1850, Mitchell Library A828 (CY Reel 812). Reference: McCaffrey (1924), Henderson (1983), Kerr (1992).
1. The Jamberoo Omnibus James Waugh 1843
Ink ML A828. Illustrated Kerr (1992).
2. Terragong Cottage, Kiama - Jamberoo Road
P ML A828
3. From Back of Waugh Hope House in 1849 looking to the swamp
P ML A828
4. Jamberoo about 1850
P ML A828
5. View of Jamberoo about 1850
P ML A828
6. Timbering 1850
W/C ML A828
7. Waugh Hope 1850
W/C ML A828
8. View in front of Mr Mackie's house 1850, where the Catholic Church is now [Kiama beach]
W/C ML A828
9. Presbyterian Church and English Church , Jamberoo
P ML A828
10. Residence of J. Graham, Waugh Hope A.W. 1859
P ML A828
11. Waugh Hope 1850
P ML A828
12. In front of Waughope ... 1850
P ML A828
13. Waughope
P ML A828
14. Illawarra scene c1850
P ML A828
15. Fig Tree, from nature 1850
W/C ML A828
16. Illawarra scene c1850
W/C ML A828
17. Illawarra scene c1850
W/C ML A828
18. Comberton Grange
W/C ML A828
1845-65

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Angas George French (1822-1886)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ
George French Angas (1822-1886)
G.F. Angas arrived in Australia in 1843, residing in South Australia for a number of years prior to moving to New South Wales . Between July-September 1845 he made his first excursion to Illawarra, sketching the cabbage palms in the vicinity of Dapto and describing the visit in his book Savage Life and Scenes in Australia and New Zealand (1847). Angas returned to the district in 1851 when he was employed as Secretary of the Australian Museum , Sydney , and also visited Kiama in 1854. Angas was a travel-artist in the mould of Augustus Earle. He travelled widely and was strong on both figures and landscapes, especially enjoying the lush vegetation and picturesque scenery of Illawarra. References: McCulloch (1968), Tregenza (1980), Kerr (1992), Ritchie (1989).
1. Valley of Dapto , Illawarra, NSW [1845]
P 25 x 35 NLA R6390
2. Dapto [Mr Jessett's Station] 1845
W/C 22 x 31.5 Private. Illustrated Tregenza, 1980, p63
3. Bangalow palm & young tree fern, Illawarra [1845]
W/C 31.7 x 22.8 AGSA. Illustrated Tregenza, 1980, p62
4. Dapto, Illawarra, NSW [1845]
P 25 x 33 NLA R6559
5. Cabbage Palms, Dapto, Illawarra, N.S.Wales [1845]
P 34 x 25 NLA R6560. View of Aborigines climbing cabbage palms.
6. Cabbage Palms, Dapto, Illawarra [1845]
W/C 32.8 x 23.5 AGSA. Illustrated McDonald & Pearce, 1988, p145
7. Dapto Illawarra , New South Wales - Mr Jesset's Station [1847]
Lithograph 27 x 22.3 WCL. Frontispiece to volume 2 of Savage Life and Scenes in Australia and New Zealand.
8. Cabbage Palms in Mr Jessett's Forest , Dapto, Illawarra, N.S.Wales. May 9th 1851
P 25 x 35 NLA NK305. Illustrated Ritchie, 1989, p48
9. Valley of Dapto , Illawarra, NSW. May 10 1851
P 25 x 35 NLA R6391
10. Dapto Mill [and Brown's Hotel], Mullett Creek 15th May 1851
P 25 x 35 NLA R6388. See NLA R6563 for watercolour version.
11. Dapto Mill [and Brown's Hotel], Mullett Creek
Watercolour 25 x 35 NLA R6563
12. Fig Tree bridge & Mt Kierah, Illawarra 16th May 1851
P 25 x 35 NLA R6389
13. Kiama Dec 29 1854
P 20 x 27 NLA R6387. Illustrated McDonald & Pearce, 1988, p151
14. Illawarra Scenery - A Tear for Israel
Lithograph 27 x 22 ML SV1B/I11a. J. Allan, Sydney .
15. Illawarra Forest Scenery [1865]
Engraving. Published in Australia , A Popular Account... (London, 1865, 116). Illustrated Ritchie, 1989, p12. ML 980.1A.
16. The Valley of Dapto , Illawarra, N.S.W. [1865]
Engraving. Published in Australia , A Popular Account... (London, 1865, 119).
17. Forest scene on the Illawarra Mountains , New South Wales
Engraving. Illustrated London News , 22 February 1868 , p185.

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Smith Colonel Charles Hamilton (1776-1859)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Colonel Charles Hamilton Smith (1776-1859)
1. Dapto, Illawarra
Wash 32.5 x 40.2 NLA T2081. This work is possibly a copy of G.F. Angas's `Dapto [Mr Jessot's station] 1845' - see above. References: McDonald (1984), Kerr (1992).
c1845

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Mundy Mrs Godfrey view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Mrs Godfrey Mundy
Mrs Mundy resided in Australia between 1846-50, during the period of her husband's (Colonel Godfrey Mundy) occupancy of the post of Adjutant-General of Australia. The Mundy's travelled widely throughout New South Wales during this time, and the Colonel published an account of these travels upon his return to England . Titled Our Antipodes ( London , 1853) they present a lively view of life in the Colony just prior to the goldrushes. Mrs Mundy was a proficient artist, producing numerous illustrations for her husband's book. References: McCulloch (1968), Kerr (1992).
1. Illawarra, a salt lagoon
Lithograph 13 x 12 WCL
2. View on the mountain road
Lithograph 12.2 x 19 WCL

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Martens Rebecca (1838-1909)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Rebecca Martens (1838-1909)
Rebecca was the daughter of the artist Conrad Martens. Around 1851 she apparently copied some of her father's sketches of Illawarra as executed in 1835, though it is also possible she made a visit to the area. Reference: Lindsay (1920), Kerr (1992).
1. Illawarra Lilly and Seaforthia
P 12.4 x 20.3 DL PX33 f.2
2. Illawarra, a view in a forest
P 12.4 x 20.3 DL PX33 f.3
3. Nettle Tree and Cabbage Palms
P 12.4 x 20.3 DL PX33 f.7
4. Nettle Tree
P 12.4 x 20.3 DL PX33 f.8
5. Fern Tree, Illawarra
P 12.4 x 20.3 DL PX33 f.9
6. Figtree
P 12.4 x 20.3 DL PX33 f.11
7. Cabbage Palms
P 12.4 x 20.3 DL PX33 f.13
8. View of tree ferns in a forest, 20 Feb
P 12.4 x 20.3 DL PX33 f.15
9. View of tree ferns in a forest, 20 Feb
P 12.4 x 20.3 DL PX33 f.18
10. View of tree ferns in a forest, 26 Feb
P 12.4 x 20.3 DL PX33 f.19

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Rae John (1813-1900)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
John Rae (1813-1900)
John Rae specialized in panoramic streetscapes, producing a large number of the Sydney area. They are simple, workmanlike pieces, yet of immense historical importance and almost photographic in their detail. Reference: McDonald (1985), McDonald & Pearce (1988), Kerr (1992).
1. Wollongong 1851 [Folded streetscape in two parts]
W/C i 22 x 27, ii 23.5 x 33 DGA7. Illustrated in part Piggin, 1984

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Sawkins James Grey view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
James Grey Sawkins
Sawkins was interested in both the Illawarra landscape and Wollongong town, depicting the harbour works and local hotel, along with the normal views of the escarpment and Tom Thumb's Lagoon. Reference: Kerr (1992).
1. Harbour at Wollongong
W/C 18.3 x 26.7 DL PXD10 f.88
2. Wollongong Hotel
W/C 18.5 x 27.5 DL PXD10 f.89
3. Tom Thumb's Lagoon, Wollongong N.S.W.
W/C 17.8 x 26 DL PXD10 f.90
4. River Para or Fairy Creek entrance, looking north
W/C 18 x 26 DL PXD10 f.91

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Montagu Lord Henry Scott (1832-1905)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Lord Henry Scott Montagu (1832-1905)
Lord Henry Scott was a young English Lord who visited Australia in 1853 with his friend Lord Schomberg Kerr and tutor Reverend Henry Stobart. Stobart kept a journal of the trio's adventures throughout New South Wales and Queensland , noting their visit to Illawarra in May, 1853. Lord Scott later took on the name Montagu, and purchased a number of works from Conrad Martens whilst in the Colony, including a view of Illawarra. References: De Vries-Evans (1982), Mitchell Library, Kerr (1992).
1. Illawarra, NSW, May 1853
W/C ML SSV*SpColl/Gen 22

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Korff John Frederick view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
John Frederick Korff
 1. Wollongong Harbour , 1853
P 18 x 25.5 Private
2. Tom Thumb's Lagoon Oct 25th 1853
P 18 x 25.5 Private
3. Jervis Bay
W/C 14.3 x 23.2 Private. From his Album of Views of Moreton Bay, Mitchell Library copies at f.38b, f36b, f.43.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Leigh William view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
William Leigh
1. Dapto Illawarra Sep 26 /53
P & W/C 14.7 x 24.1 ML PXA1988 f.10
2. Lake Illawarra looking south Sepr 26 /53
P & W/C 14.3 x 23.9 ML PXA1988 f.8
3. View from Mount Keira Road Sep 27/53
P & W/C 24 x 15 ML PXA1988 f.11
4. Lake Illawarra from Mount Keira
P & W/C 14.9 x 24.0 ML PXA1988 f.9
5. Near Denham Court Campbelltown Oct 1 /53
P & W/C 15 x 23.8 ML PXA1988 f.7
Reference: Kerr (1992).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Illustrated Sydney Newsview full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Illustrated Sydney News
This was one of the first newspapers in New South Wales to regularly feature views of various towns, districts, events, and individuals. It initially appeared between 1853-55, and again from 1864. Most views were reproduced from wood or metal engravings, and many were unattributed. This type of reproduction reached its peaked in popularity in the 1880s when large birds-eye views of towns such as Sydney , Newcastle , and Wollongong were published as supplements. From the late 1880s onwards photographs and colour printing became more common and accessible, gradually replacing the "illustrated" newspaper. The Town and Country Journal and Sydney Mail also produced similar illustrations. The following Illawarra view appeared in 1853:
1. View of Dapto
17 December 1853 p1.This view is similar to a George French Angas watercolour listed above.
1854
Illustrated Sydney News
1. Royal Marine Hotel, Wollongong (Advertisement)
25 November 1854 p396, 2 December 1854 p415.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Atkinson Caroline Louisa (Calvert) (1834-1872)
view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Caroline Louisa Atkinson (Calvert) (1834-1872)
Caroline Atkinson, artist, writer, and botanist, is more famous for her novels and skills as a botanist rather than as an artist. She was a resident of Berrima, on the Southern Highlands . Her sketchbooks contained highly detailed drawings of native flora and fauna, plus some landscapes. References: Kerr (1992), Campbell (1989).
1. Five Islands , Wollongong
W/C 15.9 x 22.8 ML A4501
2. Entrance to Mount Keira Coal Mine, Illawarra, NSW
Engraving 20 x 16 NLA U793. Reproduced in The Illustrated Sydney News.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Calvert Caroline Louisa Atkinson (Calvert) (1834-1872)
view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Caroline Louisa Atkinson (Calvert) (1834-1872)
Caroline Atkinson, artist, writer, and botanist, is more famous for her novels and skills as a botanist rather than as an artist. She was a resident of Berrima, on the Southern Highlands . Her sketchbooks contained highly detailed drawings of native flora and fauna, plus some landscapes. References: Kerr (1992), Campbell (1989).
1. Five Islands , Wollongong
W/C 15.9 x 22.8 ML A4501
2. Entrance to Mount Keira Coal Mine, Illawarra, NSW
Engraving 20 x 16 NLA U793. Reproduced in The Illustrated Sydney News.

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Vine-Hall John (1813-1892)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
John Vine-Hall (1813-1892)
1. Port of Wollongong Oct, 1854
P 8 x 34 ML PXA4461-2 f.11v. Illustrated Piggin, 1984
References: Piggin (1984), Kerr (1992).

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Denniss Ada Nesbitt view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Ada Nesbitt Denniss
1 Goldena Cottage at Marshall Mount
Oil 29 x 44.5 IHS
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Denison Mary Charlotte view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Mary Charlotte Denison
Illawarra works appear in her album of Views of NSW, Norfolk Island & Moreton Bay 1855-61 , Dixson Gallery. Mary was the daughter of Sir William Charles Denison, governor of Tasmania (1846-54) and New South Wales (1855-61). References: ADB (1969), Kerr (1992).
1. Wollongong , N.S.W.
W/C DG*D4 f.23
2. Wollongong , NSW
Wash DG*D4 f.25
3. Beach, Wollongong
W/C DG*D4 f.26

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Terry Frederick Casemero (Charles) (1826-1869)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Frederick Casemero (Charles) Terry (1826-1869)
F.C. Terry was a watercolourist in the manner of Conrad Martens and G.F. Angas, working in New South Wales in the 1850s and 60s. He was especially attracted to the lush vegetation of Illawarra, producing a number of untitled works typical of the area apart from those mentioned above. References: Moore (1934), McCulloch (1968).
1. View of Wollongong 1855
W/C ML V*SpColl Terry/1
2. View from the Bulli Pass , South Coast 1863
W/C 53 x 82 WCG. Illustrated Sothebys, 22 October 1986
3. An Illawarra Scene
W/C 34.1 x 54.6 ML V*SpColl Terry/5. Illustrated Ritchie, 1989, p80
4. Pioneers, Illawarra c1855
W/C 15.5 x 25 Sothebys 11/90
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Swainson Wview full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ. W. Swainson
Swainson worked mainly in New Zealand during the 1840s, and visited Australia around 1853-5. References: Chris Deutscher sales catalogue (July 1979), Mitchell Library.
1. Roots of the Figtree Bridge , 1855
P 12.5 x 18.5 Private. Illustrated Deutscher, July 1979
2. American Creek, Mount Keera , Illawarra N S Wales 1855
P 12.2 x 18 Private. Illustrated Deutscher, July 1979
3. Revine of Mount Kembla , Illawarra, N.S.W. 1855
P 12.2 x 18 Private. Illustrated Deutscher, July 1979

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Henning Rachel Biddulph (1826-1914)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ. Rachel Biddulph Henning (1826-1914)
Rachel Henning, writer and amateur artist, was in Illawarra between 1855-56 and during the 1870s, when she lived at Springfield , Dapto. Though a capable sketcher, she found the local landscape boring and refrained from producing many such works. The following works are reproduced in the 1986 Angus & Robertson edition of The Letters of Rachel Henning. References: Kerr (1992), Adams (1986).
1. Elladale Cottage, Appin
P Private
2. Earnscliff, Illawarra
W/C Private
3. Plan of Springfield
P Private
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Selleny Joseph (1824-1875)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ. Joseph Selleny (1824-1875)
Joseph Selleny was an Austrian artist who travelled the Pacific during 1857-59 with the frigate Novara , briefly visiting Illawarra in 1858. References: Weullerstorf-Urbair (1861-3); Mitchell Library; Walsh (1990).
1. Australia , M. Keira, near Waldren husbands coal mine 20 Nov [Mount Keira, near Osborne Wallsend Mine 1858]
W/C & P 35.6 x 51.3 WCG
2. Mount Keira , Woolongong
W/C & P 35.5 x 51.1 WCG
3. Wolongang Landschaft, Australien
P 11.5 x 31.6 NLA

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
von Guerard Eugen (1811-1901)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Eugen von Guerard (1811-1901)
Eugen von Guerard (also commonly spelt ` Eugene ') arrived in Melbourne in 1853 in search of fame and fortune on the Victorian goldfields. Failing to find it, he turned to his true profession of artist, travelling widely throughout Victoria in search of commissions. Von Guerard journeyed to New South Wales in November-December 1859, visiting Illawarra, the Blue Mountains , and Sydney . His Illawarra visit included sketching at Wollongong , American Creek near Figtree, Jamberoo, and Kiama. Von Guerard was obviously impressed with the lush Illawarra forests, especially those localities containing large, ancient figtrees enmeshed in a cover of vines and creepers. He work is noted for its fine, almost microscopic detail. References: McCulloch (1968), Bruce (1980), Clark & Whitelaw (1985).
1. Wollongong 3rd December 1859
P 33.5 x 54 DG*D17 f.6. Illustrated Piggin, 1984, p7
2. Woloongong 5th December 1859
P 33.5 x 54 DG*D17 f.45
3. NSW native Figtree, by Wollongong 5 Dec 1859
P 38.4 x 33.5 DG*D17 f.19
4. Waterfall, Amerikan Creek 5 Dec 1859
P 32.7 x 53.4 DG*D17 f.43
5. Brandy and Water Creek, Palm Valley Farm James Kevan [?Keevors], Dienstag 6 Dec 1859
P 34 x 54 DG*D17 f.44
6. Amerikan Creek, 7 Dec 1859
P 38.4 x 24.2 DG*D17 f.20
7. Amerikan Creek, Wollongong 7 Dec 1859
P 29 x 24.5 DG*D17 f.28
8. Kiama 12 Dec. 1859
P 33.5 x 54 DG*D17 f.5
9. Lake Illawarra , NSW 1859
Oil DGV1B/10
10. View of Lake Illawarra 1860
Oil WCG. Illustrated Art & Australia, Autumn 1981, p211. Reproduced as a chromolithograph. See also under Unknown 1860? below.
11. Cabbage Tree Forest , Amerikan Creek, NSW 1860
Oil 51 x 85.5 WCG
12. Figtree, Amerikan Creek near Wollongong 1861
Oil 83 x 66 Private. Illustrated Art & Australia, Summer 1980, p161; Bruce, 1980, p58; Ritchie, 1989, p84
13. Forest scene near Kiama 1863
Oil 35.8 x 56 ANG. Illustrated Bonyhady, 1988, pp74-5
14. Sunset in New South Wales 1865
Oil 71 x 92 ML258. Illustrated Bruce, 1980, p81; McDonald & Pearce, 1988, p121
15. Mountain Scenery near Jamberoo, NSW
Oil 29 x 45 Elders
16. Figtree group on the track from Kiama to Shoalhaven
Oil 35.9 x 56 ANG
17. American Creek near Wollongong [1865]
Woodcut ML. Published in The Illustrated Sydney News of 16 September 1865 , p8.
18. Lake Illawarra , NSW 1859 [1866-7]
Chromolithograph 34 x 53 ML. Illustrated Dovers, 1983, p19
19. Cabbage Tree Forest , American Creek 1859 [1866-7]
Chromolithograph 34 x 53 ML. Illustrated Dovers, 1983, p24; Bonyhady, 1985, p79; Ritchie, 1989, pp94-5
20. Fig Tree near Wollongong , N.S.Wales [1867]
Engraving 23.6 x 19.8 ML. Published in the Illustrated Australian News, 27 July 1867 ; and Victorian Men of the Time, 1877, p75.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Gill Samuel Thomas (1818-1880)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Samuel Thomas Gill (1818-1880)
1. Coo..ooo..ooee!! [Shoalhaven Gorges]
W/C ? ML. Illustrated Byrne, 1984, p13. Though Gill was resident in Sydney, there is no record of his visiting the Illawarra apart from this work, which may have been taken in the Marulan area west of Nowra. Reference: Gleeson (1976), Kerr (1992).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Gritten Henry C (1818-1873)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ. Henry C. Gritten (1818-1873)
Gritten arrived on the Victorian goldfields from England in 1853, and travelled to New South Wales around 1855. He eventually settled in Melbourne , and was a friend of Robert Hoddle who had worked as a surveyor in Illawarra during 1829-30. Whether Gritten actually visited Illawarra and Shoalhaven is unknown. References: Kerr (1992), Ritchie (1989).
1. Kiama, Illawarra, N.S.W. 1860 Sketched by Robert Hoddle 1830
Oil 58.5 x 45.5 NLA R3635. Illustrated Ritchie, 1989, p36
2. Kiama, Illawarra, NSW
Oil 40.5 x 56 Private. Illustrated Deutscher, October 1984
3. The Shoalhaven Gullies 1870
Oil 63 x 76 Latrobe Library
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Felton Myra (1835-1920)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ. Myra Felton (1835-1920)
Myra Felton was the daughter of the famous Australian portrait painter Dr. Maurice Felton. She followed in her father's footsteps, specialising in portraiture to supplement the income of a large, fatherless family (Maurice Felton having died in 1842).
1. Portrait of Charles Throsby Smith
Chalk & Gouache IHS. Charles Throsby Smith (1798-1876), the subject of this work, may be called the `Father of Wollongong', having settled there in 1823 and remaining a prominent citizen of the town for the rest of his lifetime. C.T.Smith saw Wollongong develop from a small stock station with a single stockman's hut, to a large town and commercial centre for the whole region. References: Kerr (1992).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Lloyd Henry Grant (1829-1904)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ. Henry Grant Lloyd (1829-1904)
Lloyd was an itinerant artist who studied under Conrad Martens and John Skinner Prout after leaving Tasmania in 1857. He travelled widely throughout Australia and was quite prolific. Reference is made in the Illawarra Mercury of 25 December 1860 (p2 c4) to Illawarra works in his Sketchbook of New South Wales. References: Moore (1934), McCulloch (1968), Campbell (1983).
1. On the Illawarra Lake , NSW
P DL PX42 f.77
2. Illawarra Lake from Berkley
P DL PX42 f.78
3. Tom Thumbs Lagoon from Mt St Thomas
P DL PX42 f.79
4. Tom Thumbs Lagoon, Illawarra
P DL PX42 f.80
5. Wollongong , Mts Keira and Kembla in the distance
P DL PX42 f.81
6. Illawarra Lake from Mt Keira Pass
P DL PX42 f.82
7. Stanwell Park
P DL PX42 f.112
8. Summit of Mt Keira
P DL PX42 f.113
9. From Mt Keira Coal Mines
P DL PX42 f.114
10. Waterfall, Vale of Dapto
P DL PX43 f.219
11. Tongarra, Vale of Dapto
P DL PX43 f.220
12. Lake Illawarra from Peterboro
P DL PX43 f.221
13. At Albion Park , Illawarra
P DL PX43 f.222
14. Marshall Mount, Illawarra
P DL PX43 f.223
15. Berkley near Wollongong
P DL PX43 f.224
16. Shoalhaven Gully
P DL PX43 f.235
17. Approach to Coolangatta
P DL PX43 f.238
18. Shoalhaven River near Nowra
P DL PX43 f.239
19. Nowra, Shoalhaven
P DL PX43 f.240
20. Broughton Creek near Shoalhaven
P DL PX43 f.241
21. By the Blowhole, Kiama
P DL PX43 f.242
22. Jamberoo, West Kiama
P DL PX43 f.243
23. Minamurra Water near Kiama
P DL PX43 f.244
24. Near the Cemetery, Kiama
P DL PX43 f.245
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Woods Lieutenant George Austin view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Lieutenant George Austin Woods
1. Twofold Bay, New South Wales
W/C 21.6 x 37.5 ML VIB TWO B/1. Illustrated McDonald, 1985, p115
Reference: Kerr (1992).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Scott Maria Jane view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Maria Jane Scott
1. Lake Illawarra
W/C ML SSV1B/ILLA L1
2. From Mount Keira Jan 9
W/C 26.3 x 35.3 ML PXC292-2 f.35
See also the works of Harriett Scott and Helena Forde. Reference: Kerr (1992).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Owen Eleanor view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Eleanor Owen
1. Crown Street , Wollongong
Oil on canvas, Private collection.

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Illawarra artview full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Garling Frederick (1806-1873)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Frederick Garling (1806-1873)
Garling was an artist and customs officer at Sydney harbour, especially proficient in marine painting and most famous for this. He is said to have painted every boat to have entered Port Jackson over a period of forty years. The John Penn was the first screw steamer to operate on the south coast, arriving from New Zealand in 1870 after having been built of iron in 1867. She weigh 199 tons, and was 140 ft long. The John Penn was wrecked near Moruya in a heavy fog on 11 November 1879 . The Kiama was a wooden paddle steamer built in 1855, of 104 tons and 121 ft long. She was in service until 1914. The Kembla was an iron paddle steamer, built in 1860, of 350 tons and 183 ft long. She was in service until 1917. References: Andrews (1979), Kerr (1992).
1. The Illawarra Steam Navigation Company's Steamer Kiama c1860
W/C 30.3 x 46.6 Deutscher 5/88
2. The Illawarra Steam Navigation Company's Steamer Kembla c1860
W/C 30.3 x 46.6 Deutscher 5/88
3. The Illawarra Steam Navigation Company's Steamer The Hunter c1860
W/C 32.4 x 48.5 WCG
4. The Illawarra Steam Navigation Company's Steamer John Penn c1870
W/C 30.5 x 48 Private
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm
Rodius Charles (1802-1860)view full entry
Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Charles Rodius (1802-1860)
Charles Rodius arrived in Sydney as a convict in 1829. He received his Ticket of Leave in 1834 and became an art teacher from that point on. His first publication was a series of lithographs entitled Portraits of Aboriginal Kings (J.G. Austin, Sydney, 1834). Neddy Nora, Shoalhaven, 1834 is from that collection. It appears that Rodius took portraits of Illawarra Aborigines in Sydney , and did not actually visit the area. Rodius' portraits of the Aborigines display both their natural dignity and subsequent degradation by white civilisation. References: McCulloch (1968), Dutton (1974), Buscombe (1978), Kerr (1992).
1. Waglay, Shoalhaven Tribe (profile)
P & Charcoal 18.4 x 13.6 DL Pd41
2. Sangrado, Pilot of Shoalhaven August 1834 Sydney N.S.W.
P & Charcoal 26.7 x 18.7 DL Pd45
3. Morirang, the Lady of Sangrado - Pilot of Shoalhaven. Chs. Rodius del Sydney August 1834
P & Charcoal 19 x 26.4 DL Pd46
4. Neddy Nora, Shoalhaven Ch. Rodius Sydney 1834
Lithograph 28.9 x 22.5 DL Pd25. Illustrated Buscombe, 1978, p212.1, b/w; McAndrew, 1990, p34.
5. Tooban, wife of the Chief of the Shoalhaven 1837
Crayon NLA R7405
6 Tooban, Ginn or Wife of the Chief of Shoalhaven Tribe
Lithograph 28.9 x 22.5 DL Pd22. Illustrated Buscombe, 1978, p213.3, b/w.
7. Morirang, Shoalhaven Tribe, N.S.Wales 1834
Lithograph 28.6 x 22.5 DL Pd23. Illustrated Buscombe, 1978, p212; McAndrew, 1990, b/w.
8. a. Culaba, Five Islands Tribe / b. Profile of Culaba / c. Punch, Ginn of Culaba, Broken Bay Tribe
Lithograph 24.9 x 29.9 DL Pd28. Illustrated Buscombe, 1978, p213.1, b/w.
9. Nunberri, Chief of the Nunnerahs 1834
Lithograph 28.6 x 22.5 DL Pd20. Illustrated Buscombe, 1978, p212.1, b/w; McAndrew, 1990, b/w.
10. Nambre, Shoalhaven Tribe
Crayon NLA R7407
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