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

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

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
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Parkinson Sidney (1745-1771)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Sidney Parkinson (1745-1771)
Sydney Parkinson was a young draughtsman and artist aboard the bark Endeavour during Captain James Cook's first voyage to the Pacific. During the voyage he produced three profiles of the New South Wales coastline, including one of Illawarra. This was most likely taken whilst the Endeavour was anchored off Collins Point near Woonona during Cook's attempt to land there. Unfortunately Parkinson died at Batavia in 1771 during the return voyage to England .
1. Profile of the Illawarra coastline from Red Point to Brokers Nose. Taken from aboard the Endeavour, which was off Illawarra between Wednesday 25th and Saturday 28th April 1770 .
Pencil sketch, British Museum Add. MSS.9345. Illustrated Shaw (1970, frontispiece). Red Point is the modern day Hill 60 off Port Kembla, whilst Brokers Nose is to the north behind the town of Corrimal . References: Beale (1968), Shaw (1970), Kerr (1992).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Evans George William (1780-1852)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 William Evans (1780-1852)
George Evans was an explorer, surveyor and artist who travelled overland from Jervis Bay to Appin, via Wollongong , in April 1812. He kept a journal of the expedition and therein records taking sketches of the Illawarra. Unfortunately none of these have been identified. References: McDonald (1979), Kerr (1992), Weatherburn (1987).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Campbell Sophia (1777-1833)
view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Sophia Campbell (1777-1833)
Sophia Campbell was the wife of Robert Campbell, the famous merchant of Sydney Cove. She appears to have visited Illawarra in 1816, the year in which the first land grants in the district were issued. Her depiction of Five Islands with Aborigines and lightning is especially lively. Her sketchbooks are housed in the National Library, though the Illawarra images are in private family collections. References: Kerr & Falkus (1980), Kerr (1992), Ritchie (1987).
1. Mountain and river landscape, possibly Illawarra
W/C Private collection, England. Illustrated Kerr & Falkus (1980, 39).
2. View of Illawarra
Sepia wash Private collection, England. Illustrated Kerr & Falkus (1980, 40).
3. Five Islands with Aborigines and lightning
W/C Private collection, England. Illustrated Kerr & Falkus (1980, 41).
4. Five Islands
W/C Private collection, England. Illustrated Kerr & Falkus (1980, 48).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Arago Jacques (1790-1855)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Jacques Arago (1790-1855)
Jacques Arago was artist and journal keeper aboard the French scientific expedition under Louis de Freycinet which visited Sydney between 18 November and 25 December 1819 . A sketch of the Aboriginal man Timbere (or Timbery), a member of the Five Island Tribe, was taken at Botany Bay, and later lithographed for inclusion in the account of the voyage published in 1823. Reference: McCulloch (1968), Kerr (1992), Nugent (1988).
1. Timbere. Nlle. Hollande
Charcoal on paper, 8.5 x 5cm. Mitchell Library. Illustrated Sothebys (October 1987, 148, b/w).
2. Timbere
Lithograph, Mitchell Library. Illustrated Nugent (1988, 4).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Lycett Joseph (1774-1825)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 Lycett (1774-1825)
Joseph Lycett was a convict artist who produced a series of highly detailed watercolours during his residence in the Colony between 1814-22. A number of these were reproduced as the series of aquatint Views in Australia (1824-5) upon his return to England . The following Illawarra watercolour was not aquatinted. The actual locality of the 'Illawarra River' is unknown - it is possibly the Wingecarribee or Wollondilly rivers, on the Southern Tablelands of New South Wales, or the Shoalhaven River . This view may have been based upon one taken by the explorer / artist G.W. Evans referred to above. Evans had travelled extensively throughout New South Wales with surveyor Oxley and alone, and Lycett is known to have copied some of his sketches for the series of aquatints. References: McCulloch (1968), Moore (1934), Campbell (1983), Kerr (1992).
1. View on the Illawarra River about 80 miles from Sydney , New South Wales
W/C 34.7 x 49.8 DGD1 f.6. Illustrated Gleeson (1976, 40, colour); Splatt & Bruce (1986, 15, colour).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

de Sainson Louis Auguste (1801-1887)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Louis Auguste de Sainson (1801-1887)
Louis Auguste de Sainson was official artist with the French Astrolabe Expedition of 1826-29, under Captain Jules Dumont d'Urville. The Expedition sailed along the southern coast of New Holland from Western Australia to Port Jackson between October and December 1826, entering Jervis Bay on the New South Wales south coast during November. The following images are based upon sketches recorded during this visit, and subsequently published by the French Government between 1830-4 and in Germany during 1836. Only one original watercolour is known. References: Moore (1934), McCulloch (1968), Dutton (1974), Flower (1975), Smith (1985), Campbell (1989), Organ (1990), Kerr (1992).
1. Nouvelle Hollande Naturals de la Baie Jervis [New Holland Aborigines from Jervis Bay ]
Lithograph 25.5 x 19. Part of Plate 12, Dumont D'Urville, Voyage de la Corvette l'Astrolabe, Historie, Atlas I, Paris, 1830-4.This plate depicts a group of three King George's Sound native in the left half of the picture, whilst three from Jervis Bay are to the right. The Western Australian natives are clothed in animal skins, whilst those from Jervis Bay are variously naked or in European apparel, such as jackets. The latter are also holding fish.
2. Cabanes de la baie Jervis (6 pieds de haut) [Native Huts of Jervis Bay (6 people per hut)]
Lithograph 25.5 x 19. Part of Plate 18. This plate depicts views of four native huts - two from New Holland and two from New Zealand, with the Jervis Bay hut to the top right.
3. Ile boswen a l'entree de Baie Jervis [The boat at the entrance to Jervis Bay ]
Lithograph 19 x 28.8. Plate 24. A full side view of the Astrolabe under sail off Jervis Bay , heading north towards Sydney .
4. [The Astrolabe moored in Jervis Bay ]
Lithograph 25.5 x 19. Plate 25. View of the Astrolabe moored in Jervis Bay , with some natives appearing on the shore.
5. Baie Jervis, Nouvelle Holland (Les marins de L'Astrolabe partagent leur peche avec les Naturals) [ Jervis Bay , New Holland. The sailors of the Astrolabe sharing their catch of fish with the Aborigines]
Lithograph 19.4 x 29.3. Plate 34. Illustrated Dutton, 1974, plate 37, b/w; Flower, 1975, p91, b/w; Dutton, 1985, p11, b/w. Described in detail in Organ (1990).
6. [Native Weapons and Artefacts of New Holland and New Zealand ]
Lithograph 25.5 x 19. Plate 36. Includes drawings of Aboriginal artefacts from Jervis Bay .
7. Die Matrosen des Astrolabs theilen ihren fischfang mit den Eingebornen [Members of the crew of the Astrolabe sharing their fish with the natives]
Lithograph. Plate 8 from a German edition which was published by Schaffhausen in 1836.
8. Natives of King George's Sound, and of Jervis Bay
Lithograph. Plate 5 from the German edition which was published by Schaffhausen in 1836.
9. Pirogue de la Baie Jervis, Nouvelle Holland par Paris . [View of Jervis Bay , New Holland ]
Colour sketch 25 x 35 Res. S.G. fol 4, no.22. Societe de Geographie, Paris.

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Earle Augustus (1793-1838)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Augustus Earle (1793-1838)
Augustus Earle arrived in Sydney from Hobart on 31 October 1825 and visited Illawarra during April-May of 1827, travelling as far south as Kiama. His entry to Illawarra was via the old Mountain Road , near present-day Bulli Pass. Halfway down the mountain he sketched the scene recorded in the watercolour A bivouack, daybreak, on the Illawarra mountains. During his visit Earle was obviously impressed by the lush, semi-tropical Illawarra forest and the rugged coastline, producing a number of small watercolours of his journey. Earle and his fellow travellers - making a party of seven - after descending the mountain at Bulli, rode south along the beaches and through the Illawarra bush to a Mr Cowell's farm near Kiama. At Kiama Earle produced a view looking north from Mr Cowell's farm, along the coast towards Wollongong . Whilst returning to Sydney from Illawarra, Earle fell off his horse near Appin and broke his leg. During his period of recuperation at Appin he wrote a doggerel verse briefly describing his Illawarra trip. Perhaps it was also during this interlude that he completed the series of small watercolours with an Illawarra theme. All National Library of Australia works cited below are illustrated in black and white in Hackforth-Jones (1980). References: McCulloch (1968), McDonald (1979), Hackforth-Jones (1980), Kerr (1992).
1 Cabbage Tree Forest , Illawarra , New South Wales [1827]
W/C 25.7 x 17.1 NLA NK12/37. Illustrated Gleeson (1976, 45, colour); McDonald (1979, b/w); Jones (1988, 29, colour); Ritchie (1989, 98, colour).
2. Cabbage Tree Forest , Illawarra , New South Wales [1827]
W/C 25.7 x 17.1 NLA NK12/38. Illustrated Ritchie (1989, 33, colour).

3. A Bivouac in New South Wales , daybreaking [1827]
W/C 25.7 x 17.1 NLA NK12/39. Illustrated McDonald (1979, b/w); France (1988, colour); Ritchie (1989, 69, colour).
4. The Hollow Tree on the Illawarra Mountains , New South Wales [1827]
W/C 25.7 x 17.1 NLA NK12/40. Illustrated McDonald, 1979, b/w.
5. Mr Cowell's Farm on the Coast, 60 miles South of Sidney [1827]
W/C 15.6 x 25.7 NLA NK12/44.
6. View on the Coast of New South Wales - Illawarra [1827]
W/C 17.5 x 25.7 NLA NK12/46
7. Scene on the Coast of New South Wales - Illawarra [1827]
W/C 117.1 x 26 NLA NK12/48
8. Skirmish between Bushrangers and Constables, Illawarra [1827]
W/C 17.2 x 26 NLA NK12/49. Illustrated McDonald, 1979, b/w; Dovers, 1983, p31, colour.
9. Curious Rocks and Natural Baths, New South Wales [1827]
W/C 17.8 x 26.3 NLA NK12/50
10. Five Islands, off the coast of Illawarra , N.S.W. [1827]
W/C 18 x 53 ML PXD265 f.9
11. Illawarra, N.S.Wales [1827]
W/C 17.3 x 25.5 ML PXD265 f.10
12. The Five Islands District, Illawarra, N.S.Wales [1827]
W/C 28 x 54 ML PXD265 f.11
13. A Bivouac of Travellers in Australia , in a Cabbage Tree Forest , Daybreak [c1838]
Oil 118 x 82 NLA NK14. Illustrated Gleeson, 1976, p44, colour; Ritchie, 1989, p68, colour.

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Abbott John (1803-1875)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
John Abbott (1803-1875)
1. The Boat Harbour of Woollooderra [Ulladulla], as seen from the S.W. 1828
W/C 13.9 x 19 ML. Illustrated Kerr (1992, 3).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Florance Thomas (c1783-1867)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ. Thomas Florance (c1783-1867)
Florance was a government surveyor who worked in the Ulladulla area during 1827-8. His survey books also include drawings. Reference: Turnbull et al. (1972), Kerr (1992).
1. Ulladulla 1828
Pencil sketch, Archives Office of New South Wales.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Govett William Romaine (1807-1848)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 Romain Govett (1807-1848)
Surveyor and artist. Govett was working in the Stanwell Park area of northern Illawarra in April 1829, though no specific Illawarra artworks by him have yet been identified. References: ADB (1969), Kerr (1992), Mitchell Library.
1829-30

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Hoddle Robert (1794-1881)
view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Robert Hoddle (1794-1881)
Robert Hoddle was a surveyor by profession, initially employed as an assistant to T.L. Mitchell, Surveyor General of New South Wales . When he fell into disfavour with Mitchell he moved to Melbourne , where he was to become involved in the survey of the streets of Melbourne and amassed a small fortune as a real estate agent there in the 1840s and 50s. Hoddle worked on the surveying and construction of the Kiama to Bong Bong Road during 1829-30, and it was during this period that the four works listed below were produced. Hoddle was most proficient in the use of watercolour - his view of Pumpkin Cottage, Illawarra has been reproduced numerous times in both art and general history books as a typical example of a settler's cottage of the 1820s and 30s. References: ADB (1969), McCulloch (1977), Kerr (1992), Shar Jones (1988).
1. Near the source of the Clyde River , Batemans Bay 1829
P 17.3 x 46 ML PX*D319 f.11
2. Pumpkin Cottage, Illawarra, the first family residence of Henry Osborn in NSW 1830
W/C 29.4 x 39.4 ML PX*D319 f.8. Illustrated Jones, 1988, p17, colour.
3. En route to Kiama (Illawarra) from Bong Bong
W/C 21.2 x 28.5 ML PX*D319 f.9
4. Near Bulli, Illawarra
W/C 20.6 x 27.4 ML PX*D319 f.14
5. Shoalhaven Gullies
W/C Leonard Joel July 1994.

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Mitchell Thomas Livingstone (1792-1855)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Thomas Livingstone Mitchell (1792-1855)
Mitchell was Surveyor General of the Colony, explorer, writer, and artist. He visited Illawarra in 1834 to supervise the survey of the town of Wollongong , and in 1843 when the road from Illawarra to Sydney was being constructed. His pencil sketch Wollongong from Flagstaff Point is the earliest extant view of the burgeoning town of Wollongong . Reference: McDonald (1979), Kerr (1992).
1. Wollongong from Flagstaff Point, 1834
Pencil sketch, Mitchell Library?
2. Johnny Crook, (Punbai Native Name) Five Islands 1843
P 27.5 x 22.5 ML PXA74 f.5

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Scott Harriet (1830-1907)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Harriet Scott (1830-1907)
The following sketches are located in her Sketches of scenes in New South Wales Mitchell Library PX*D106. See also the work of her sisters Helena Forde and Maria Jane Scott. The Scott sisters were especially fine botanical artists.
1. Waterfall at Wollongong 1861
P ML PX*D106 f.1
2. Five Island Point, Wollongong 1861
P ML PX*D106 f.4
3. The Avenue, Berkeley Estate near Lake Illawarra 1861
P ML PX*D106 f.10
4. Berkeley Avenue Wollongong 1861
P ML PX*D106 f.11
References: McCulloch (1968), Campbell (1983), Kerr (1992).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Martens Conrad (1801-1878)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Conrad Martens (1801-1878)
Conrad Martens was a professional artist when he arrived in Sydney in April 1835, following 12 months sailing around South America aboard the HMS Beagle with Captain Robert FitzRoy and Charles Darwin. He visited Illawarra for approximately ten days shortly thereafter in July, possibly as the result of a commission from Governor Richard Bourke. Following this trip he continued to execute works based on Illawarra scenes throughout his working life, up until 1877, a year before his death. He also made a visit to Coolangatta, the property near Nowra of his friend Alexander Berry, in 1860. All told, 97 works of Illawarra scenes by Martens are known. They include watercolours, oils, pencil and wash sketches, lithographs, and an etching. The following listing is divided into Pencil Sketches, Watercolours, Oils and Prints (for Illawarra), and the Coolangatta Group of the 1860s. Refer M. Organ (1987) for a detailed description of each of Martens' Illawarra works and their localities. References: Lindsay (1968), McCulloch (1968), Gleeson (1976), Pearce (1979), Dundas (1979), France (1988), Ritchie (1989), Edwards & Gowing (1989), Kerr (1992), De Vries-Evans (1993).
Pencil Sketches
1. View of Five Islands and Hat Hill Illawarra, July 7th/35
P 20 x 30 DL PX24 f.7
2. At Illawarra, July 8/35
P 12 x 18.9 ML PXC389
3. Boat Harbour , Wollongong , July 8th/35
P 19 x 29.8 ML C295 f.42
4. Beach Scene at Illawarra, July 8th/35
P 19.1 x 30.4 ML PX*D307-1 f.4
5. At Illawarra, July 8/35
P 12 x 18.9 ML PXC389
6. View at Illawarra - Tom Thumbs Lagoon. July 8/35
P 12 x 18.9 ML PXC389
7. Wollongong Point, looking North, July 8th/35
P 20 x 30 ML PX*D307-1 f.5
8. Hat Hill from Wollongong Point, July 8th/35
P 19.4 x 30.1 ML PX*D307-1 f.3
9. Tom Thumbs Lagoon, July 9th/35
P 20 x 30 DL PX24 f.8
10. Lake at Illawarra, July 9/35
P 20 x 30 DL PX24 f.9
11. Lake at Illawarra, July 9/35
P 20 x 30 DL PX24 f.10
12. The Arum at Illawarra, July 10/35
P 12 x 18.9 ML PXC389
13. Palms, Ferns, etc, Illawarra. July 10/35
P 12 x 18.9 ML PXC389
14. Nettle Tree & Cabbage Palms, etc. July 11th/35
P 12 x 18.9 ML PXC389
15. Fig Tree at Illawarra, July 11/35
P 12 x 18.9 ML PXC389
16. Lake Scene , Illawarra, July 12/35
P 20.4 x 30 ML PXC295 f.51
17. Dapto, Illawarra, July 12th/35
P 20 x 30 DL PX24 f.11
18. Cabbage tree & Stedmania. July 12
P 12 x 18.9 ML PXC389
19. Para (Bara) Creek, July 13/35
P 12 x 18.9 ML PXC389
20. Terrys Johnsons Meadows, July 13/35
P 20 x 30 DL PX24 f.12
21. The Brush at Illawarra - Mullet Creek, July 14/35
P 18.8 x 29.2 ML PXC296 f.32
22. Terrys Meadows, July 14/35
P 20 x 30 DL PX24 f.13
23. Johnsons Meadows, July 14/35
P 19.7 x 30.1 ML PXC295 f.94
24. Nettle Tree, July 14/35
P 12 x 18.9 ML PXC389
25. Fern Tree, Illawarra, July 16/35
P 12 x 18.9 ML PXC389
26. View of Lake Illawarra
P 12 x 18.9 ML PXC389
27. Lake at Illawarra
P ML PXB6 f.89
28. Bangala or Seaforthia. Elegans
P 12 x 18.9 ML PXC389 f.13
29. Crimsen or Lilly, Illawarra
P 12 x 18.9 ML PXC389
30. Flower study
P 12 x 18.9 ML PXC389
31. Figtree and Seaforthia Palms, Illawarra
P 19 x 28.5 Christies 10/77
32. Cabbage Tree
P 14 x 21.7 ML PXC391
33. Aborigine
P 12 x 18.9 ML PXC389
Works in Oil
34. Illawarra Lake 1843
Oil 44.5 x 63.5 Private. Illustrated Dundas , 1979, p45, colour; Pearce, 1979, colour. View of Lake Illawarra from the Escarpment.
35. Illawarra, 1848
Oil 74 x 62 DG165. Illustrated Dundas , 1979, p71, b/w; Ritchie, 1989, p21. View of the Illawarra rainforest.
36. Lake Landscape , Illawarra 1848
Oil 54.1 x 65.8 Private. View of Lake Illawarra and Hooka Island .
37. Lake Illawarra
Oil Private
Watercolour & Wash
38. Boat Harbour , Wollongong 1835
W/C 28 x 40.5 WCG. Illustrated Christies, September 1984, b/w.
39. Lake Illawarra 1835
W/C 47 x 68 DL31. Illustrated Ritchie, 1989, p79, colour.
40. Barco Creek, 1835
W/C 24.4 x 34.7 Private. Illustrated Lindsay, 1968, plate 29, colour; Pearce, 1979.
41. The Five Islands , South Coast , 1836
W/C 45.8 x 65.2 Camden Park. Illustrated Lindsay, 1968, plate 10, colour.
42. Mount Kembla and Mount Keira from the South Coast Road c1837
W/C 24.3 x 37.7 DGD11 f.9. Illustrated Lindsay, 1968, plate 32, colour.
43. Illawarra District 1837
W/C 31.6 x 47.2 Christies 3/69. Illustrated Christies, March 1969.
44. South Coast Scene 1842
W/C 16 x 24 Private
45. Lake Illawarra , 1844
W/C 47.2 x 64.8 Christies 3/72. Illustrated Christies, March 1972, b/w.
46. View of Dapto 1845
W/C Private
47. View of Illawarra from Dapto 1845
W/C 22 x 31.8 Ervin
48. Avondale and Mount Marshall
W/C 45.8 x 61.1 ANG. Illustrated France , 1988, colour.
49. Illawarra
W/C 29.5 x 45 AGNSW
50 Illawarra
W/C 20.5 x 32.5 AGNSW
51. Illawarra
W/C 29.7 x 45.3 AGNSW
52. The Illawarra Road
W/C 27 x 31 Christies 3/77
53. Near Wollongong
W/C 10.5 x 21.5 Christies /85
54. Camp Site at Night
W/C 30 x 26 Private. Illustrated Christies, April 1987, b/w.
55. The Five Islands , NSW Coast
W/C 44 x 64 Grey 11/73
56. The Illawarra Road
W/C 31 x 27 Grey 3/78
57. View from Mount Keira
W/C 45.4 x 64.1 DG45
58. Lake Illawarra
W/C 26 x 34 DGD7 f.3
59. Beach Scene
W/C 16.1 x 27.9 DGD8 f.6
60. Landscape
W/C 13.6 x 20.8 DGD8 f.7
61. Landscape
W/C 14 x 21 DGD9 f.8
62. Coastal Scene
W/C 14.6 x 22.7 DGD10 f.1
63. Coastal Scene
W/C 20.3 x 26.7 DG*D19 f.2
64. Country Scene
W/C 20.3 x 26.7 DG*D19 f.3
65. Coastal Scene
W/C 19 x 26 DG*D19 f.4
66. Mountain Scene
W/C 19 x 30 DG*D19 f.10
67. Mountain Scene
W/C 24 x 33 DG*D19 f.11
68. Barco [Para] Creek , New South Wales
W/C 23 x 33.5 DG*D19 f.14
69. Coastal Scene
W/C 18.5 x 26.1 DL PX27 f.19
70. Coastal or Lake Scene
W/C 14 x 22 DL PX27 f.37
71. Lake at Illawarra
W/C 18.3 x 25.3 DL PX28 f.23
72. [Illawarra]
W/C 15.8 x 27.8 DL PXX11 f.6
73. Mountain Scene
W/C 14 x 23 DL PXX12 f.15
74. Station [Dapto, Illawarra]
W/C 46.7 x 66.6 ML V*SpColl/Martens/44
75. [? Mount Keira ]
W/C 21.6 x 14 ML PXC292-2 f.11
76. Illawarra Lake
W/C 8 x 25 ML PXC292-2 f.15
77. Lake at Illawarra
W/C 20 x 31 ML PXC296 f.15
78. Landscape showing a lake and mountains
W/C ML PX*D307-2 f.3
79. Bushland Scene, possibly in the Illawarra district
W/C & P 20.3 x 30.5 ML PX*D307-8 f.4
80. Illawarra District
W/C 19.3 x 29.7 ML V*SpColl/Martens/3a
81. The Lakes Illawarra 1850
W/C DL PXX30 f.4a
82. The Lakes Illawarra 1850
W/C DL PXX30 f.5a
83. Mullet Creek, Illawarra 1853
W/C Private. Illustrated Ritchie, 1989, p86, colour.
Prints
84. Bush Scene, Illawarra [1850]
Lithograph ML V*SpColl/Martens/17. Illustrated Ritchie, 1989, p11, b/w.
85. Bush Scene, Illawarra
Etching ML
Coolangatta Group, 1860
86. Coolangatta Mountain 1860
Oil 61 x 89 Private. Illustrated Pearce, 1979, b/w.
87. Tower near Coolangatta 1860
W/C 37.7 x 28.2 Private. Illustrated Dundas , 1979, p80, b/w; Pearce, 1979.
88. Shoalhaven Valley 1861
W/C 45.7 x 65.8 AGNSW
89. Shoalhaven from Saddleback
P & W/C 30 x 48.5 Private
90. Wollongong from on board the Steamer, 11 April 1860
P DL PX17 f.18
91. Kiama from the Steamer, 11 April 1860
P DL PX17 f.20
92. At Kiama, 11 April 1860
P DL PX17 f.19
93. Coolangatta from the sea, April 11 1860
P DL PX17 f.21
94. Coolangatta, Sat. April 14, 1860
P 29 x 46.5 Private. Illustrated Pearce, 1979.
95. Coolangatta, 16 April 1860 , Monday
P 23.9 x 44.1 DL PXX12 f.1
96. From Coolangatta, Shoalhaven River
P 28.5 x 45.6 Private. Illustrated Pearce, 1979.
97. Coolangatta Mountain 1874
P Private

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

O'Brien Cornelius (1796-1869)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Cornelius O'Brien (1796-1869)
Cornelius O'Brien was one of the first white settlers at Illawarra, working as superintendent of Merchant Browne's property at Yallah from about 1816, and setting up his own farm and whaling station at Bulli around 1818. He lived at Bulli until 1837 when he sold out to Captain Westmacott and moved to Yass. A portrait of O'Brien and view of his house at Bulli in 1835 are known to this author, however their localities and responsible artists have not been identified. References: Browne (1976).
1. House at Bulli, Home of Cornelius O'Brien 1835
W/C ML
2. Portrait of Cornelius O'Brien
Oil on canvas, Private collection. Illustrated Browne, 1976, b/w.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Fernyhough William Henry (1812-1849)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 Henry Fernyhough (1812-1849)
W.H. Fernyhough was a professional surveyor and architect, assistant to Surveyor General T.L. Mitchell. His published works included Twelve Portraits of Aborigines of New South Wales (J.G. Austin, Sydney, 1836) from which the print is taken. Fernyhough saw the Aborigines as a "subject for ridicule" and not as examples of "the noble savage", an image popular in the early nineteenth century. Refer also to Charles Rodius (1834) and William Nicholas (1840s) for contemporary portraits of New South Wales Aborigines. References: McCulloch (1968), Dutton (1974), Buscombe (1978), Kerr (1992), Smith (1985).
1. Bill Worrell, Five Islands Tribe
Lithograph 28.3 x 22.3 ML PXA615 f.35

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Backhouse James (1794-1869)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
James Backhouse (1794-1869)
Quaker minister, botanist, and sketcher. Backhouse visited Illawarra and Shoalhaven in September-October 1836, and Jervis Bay in 1837, all the while keeping a journal into which he drew sketches of local flora and also diagrams of the implements used by the local Aborigines. Some of these sketches were reproduced in the published account (1836) of his Australian travels. References: ADB (1979), Beale et al. (1990), Kerr (1992), Mitchell Library.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Boulton Edward Baker ( -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.
Edward Baker Boulton ( -1895)
E.B. Boulton, artist and settler, is known to have visited Illawarra during 1836-7. He was a good friend of Georgiana Lowe who also sketched in Illawarra between 1843-49, though no Illawarra works are known to the author. References: Kerr (1992), McDonald & Pearce (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Westmacott Captain Robert Marsh (1801-1870)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Captain Robert Marsh Westmacott (1801-1870)
Captain Westmacott arrived in Sydney in December 1831, as Aid-de-camp to Governor Richard Bourke. After travelling widely throughout New South Wales in company with the Governor, Westmacott decided to settled in Illawarra in 1837 when Bourke returned to England . Westmacott was a prominent member of the local community until his return to England in 1847. Though his residence was at Bulli, in northern Illawarra, he travelled widely throughout the region, producing numerous small watercolours, wash drawings, and pencil sketches of the district. Many of his works depict the local Aborigines and aspects of their life - including their method of fishing in creeks, climbing trees to catch possum, and their clothing, implements, and ceremonial attire. Westmacott also published two series of lithographs (in 1838 and 1848) both containing view of Illawarra. His print Illawarra Lake [1838] was the first published view of the district. Refer M. Organ (1988) for a more detailed description of each work. References: Moore (1934), McCulloch (1968), Henderson (1983), Organ (1986, 1988), Wantrup (1987), France (1988), Kerr (1992).
1. Wollongong from the Stockade, April 20th, 1840
W/C 19.3 x 32 NLA. Illustrated Henderson , 1983, p85, b/w.
2. Terragong swamp
W/C & P 17.8 x 24.7 NLA NK762/2
3. Looking across Lake Illawarra
W/C 17.9 x 23.7 NLA NK762/3
4. Valley of Jamberoo , NSW
W/C & P 25.7 x 26.8 NLA NK762
5. View from Mt Therry
W/C & P 17.7 x 23.7 NLA NK762/5
6. Valley on Illawarra - Sydney road
W/C 13.9 x 22.6 NLA NK762/7
7. My cottage, Woodlands, Illawarra
W/C 23.8 x 26.7 NLA NK762/11
8. Coast View north of Kiama
W/C 16.3 x 24.4 NLA NK762/12
9. Coal Cliffs, Illawarra
W/C 9.7 x 26.1 NLA NK762/14
10. Coal Cliffs, Co. Cumberland
W/C 26.6 x 23.7 NLA NK762/16
11. Bulli, Illawarra
W/C 13.9 x 22.7 NLA NK762/20
12. Bulli, from the Coal Cliffs
W/C 20.8 x 26.6 NLA NK762/22
13. Kangaroo Valley , Illawarra
W/C & P 9.5 x 13.3 NLA NK762/23
14. Waterfall near Curramore
W/C & P 20.8 x 20.7 NLA NK762/25
15. Near the Waranora River
W/C 14.1 x 23 NLA NK762/26
16. Entrance to " Illawarra Lake " from the sea. Pass to Berrima, Kembla, Keira
W/C 23.7 x 24 NLA NK762/27
17. View in the Kangaroo Valley showing the manner the natives climb the trees for oppossums and bandicoots
W/C 15 x 24.5 NLA NK762/30
18. Bulli, Illawarra, N.S.Wales, my cottage
W/C 22.4 x 43.2 DL PX53 f.4. Illustrated Henderson , 1983, p67, b/w.
19. Tom Thumbs Lagoon, Illawarra The Five Islands
P & W/C 17.3 x 26.2 DL PX53 f.15
20. Menzies Falls , Illawarra
W/C & SW 18.5 x 18 ML PXA1760 f.24
21. On the Coast, near Stanwell Park
SW 9.5 x 25.2 ML PXA1760 f.20
22. The Blow Hole at Kiama, Illawarra - an exhausted crater. The swell of the sea washes through an aperature walled by very beautiful basaltic columns running inland about 1/4 Mile, and dashes against the sides of the crater.
P & SW 23.7 x 25.4 DL PX53 f.12
23. Waterfall on the coast at Wattamolle, about 600 feet
P & SW 12.5 x 25.7 ML PXA1760 f.15
24. Marombet River , Twofold Bay ( Bedouin Mountain 4000ft)
P & W/C 11.5 x 40.7 DL PX53 f.4b
25. Twofold Bay. Boyd Town. Anchorage from the North for Men of War. Sheltered from S.E.
P & W/C 8.9 x 45.8 DL PX53 f.6
26. Mountain Pass from Jamberoo to Bong Bong, Illawarra
P & W/C ML
27. Green Point and Five Islands
P 23.7 x 26.7 ML PXA1760 f.8
28. Woronora Creek, Illawarra. Mountains in the distance
P 14.3 x 23.3 ML PXA1760 f.13
29. Bulli Bay on the Coast
P 14.2 x 23.3 ML PXA1760 f.18
30. Illawarra Lake
P 17.3 x 27 DL PX53 f.16
31. Para Creek, Illawarra Mount Kembla
P & SW 11 x 16.6 DL PX53 f.19a
32. Mount Keera Belambi NSW
P & SW 11 x 13.1 DL PX53 f.25
33. Dapto Creek, Illawarra
P 18.2 x 24.6 ML PXA1760 f.3. Illustrated Ritchie, 1989, p118.
34. Kiama
P 18.3 x 23.6 ML PXA1760 f.4
35. Jervis Bay , the East Coast. N.S.Wales a Fine Harbour
SW 15.3 x 23.2 DL PX53 f.28
36. Kiaa River , Twofold Bay
SW 13.2 x 21 ML PXA1760 f.16
37. View from the Maneroo Mountains , looking on the valley through which the Kaia River flows
SW 11.5 x 17.3 DL PX53 f.10
38. Jiggama River - NSW on East Coast
P & W/C 15.3 x 24.2 DL PX53 f.
39. Mountain Pass from Jamberoo to Bong Bong, Illawarra NSW
P 22.4 x 22.4 DL PX53 f.7
40. Waniora River, Co. Cook, N.S.W.
P 14.3 x 23.3 ML PXA1760 f.26
41. Huts of the Natives
SW & W/C 10.2 x 21.4 ML PXA1760 f.30
42. Natives
W/C 23.7 x 21.4 ML PXA1760 f.31
43. The Bourke Falls, Illawarra , New South Wales [1838]
Lithograph 20 x 28.7 ML. Illustrated Mitchell & Sherington, 1984, p10.
44. Illawarra Lake [1838]
Lithograph 20 x 28.7 ML. Illustrated Mitchell & Sherington, 1984, p10.
45. View from Bourke's Pass, on the Manero Range , New South Wales [1838]
Lithograph 20 x 28.7 ML
46. Blowhole, Kiama [1848]
Lithograph 21 x 25.4 IHS
47. Valley of Jamberoo [1848]
Lithograph 21 x 25.4 IHS. Illustrated Henderson, 1983, p106; Mitchell & Sherington, 1984, p10.
48. Mountain Pass , from Jamberoo to Bong Bong [1848]
Lithograph 21 x 25.4 IHS
49. Johnstone Plains & Five Islands from the Green Mountain [1848]
Lithograph 21 x 25.4 IHS
50. Condons Creek [1848]
Lithograph 21 x 25.4 IHS. Bass Point, Shellharbour.
51. Jarvis Bay [1848]
Lithograph 21 x 25.4 IHS
52. The Jiggama River, near Pambula [1848]
Lithograph 21 x 25.4 IHS
53. View from O'Brien's Pass, Illawarra [1848]
Lithograph 7.8 x 11.8 IHS

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Clarke Reverend W B (1798-1878)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Reverend W.B. Clarke (1798-1878)
Scientist and parson. Clarke recorded a number of pencil sketches of geological scenes in his diary whilst journeying through Illawarra with James Dwight Dana, the American geologist, in December 1839 - January 1840. These rough pencil and ink sketches include views of the Kiama Blowhole and a log cabin in Kangaroo Valley . References: Kerr (1992), Mitchell Library - W.B. Clarke Papers (MSS139).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Dana James Dwight (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.
James Dwight Dana (1813-1895)
J.D. Dana was geologist for the United States Exploring Expedition which visited New South Wales in 1839-40. Dana visited Illawarra in December 1939 - January 1840, accompanied by Reverend W.B. Clarke and other members of the Expedition. He sketched a number of geological features of Illawarra, including the Kiama Blowhole and a coastal profile from Red Head near Kiama, to Bulli in the north. Sketches were reproduced as engravings in his 1849 work on Geology, being Volume X of Wilkes Narrative. References: Viola & Margolis (1986), Kerr (1992).
1. Basaltic rocks, 2 miles N. of Kiama, Illawarra
P & W/C Smithsonian Institute
2. Basaltic columns at Kiama in Illawarra, N.S.W.
P Smithsonian Institute
3. From 2nd Cliff S of Kiama
P Smithsonian Institute
4. Wollongong Sandstone
P Smithsonian Institute
5. Geological Profile and Coastal Sections of Cliffs - Black Head to Bulli
P Smithsonian Institute
6. Geological map of the Illawarra district 1839-40
P, Ink & W/C Smithsonian Institute. Illustrated Viola & Margolis,(1986).

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Agate Alfred T (1812-1846)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Alfred T. Agate (1812-1846)
Alfred T. Agate was one of the official artists (along with Joseph Drayton) of the United States Exploring Expedition of 1838-42, under Captain Charles Wilkes. Members of the Expedition visited Illawarra early in January 1840, including the geologist J.D. Dana referred to above. They were accompanied for a period by geologist, the Reverend W.B. Clarke. The engravings after Agate were published in the five volume Narrative of the United States Exploring Expedition ( Philadelphia , 1844). References: Viola & Margolis (1986), Kerr (1992).
1. Corrobory Dance
Engraving 17.7 x 11.9 Wilkes 1844, p188. Engraved by E.G. Dunnel
2. Forest , Illawarra, N.S.W.
Engraving 17.7 x 11.9 Wilkes 1844, p241. Engraved by J.A. Rolph. Illustrated Ritchie, 1989, p13.
3. Settler's Cottage, N.S.Wales
Engraving Wilkes 1844, p261. Engraved by W.H. Ellis
4. Daisy Bank
Woodcut engraving Wilkes 1844, p277. Engraved by R.H. Pease.
1839-40
John & Elizabeth Gould (1804-1881; 1804-1841)
The Goulds were natural history artists and ornithologists who visited Illawarra during 1839-40 and sketched some of the local fauna for inclusion in their subsequent publications on the animals and birds of Australia . References: Kerr (1992).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Nicholas William (1809-1854)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 Nicholas (1809-1854)
William Nicholas was born in England and arrived in Sydney in February 1836 after serving as an apprentice engraver and lithographer. Initially he was engaged in the local production of prints, however he later took to painting portraits in oil and watercolour. During the 1840s Nicholas produced a number of portraits of New South Wales Aborigines, including members of the Illawarra and Shoalhaven tribes. See also C. Rodius (1834) and W.H. Fernyhough (1836). Reference: Buscombe (1978), Kerr (1992).
1. Punch, Wife of Cullabaa Broken Bay Tribe 1840
Zincograph 29.2 x 21.2 NLA NK708
2. Bill Worrall
Lithograph 29.2 x 22.6 NLA NK708. Illustrated Buscombe, 1978, p242.1.
3. Johnny Crook. Nat. Name Janenbius. The Illawarra
W/C 28.1 x 21.1 DG P2/18. Illustrated Buscombe, 1978, p242.1.
4. Johnny Crook. Native Name "Yunbai". From Illawarra
Lithograph 24.9 x 19.6 NLA NK9675. Illustrated Buscombe, 1978, p242.1.
5. Marang. A Native of Kiama
Engraving 22.5 x 15.6 DL Pd61. Illustrated Buscombe, 1978, p239.1.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

McArthur William (1788-1864)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 McArthur (1788-1864)
1. Doctor Ellis (?)
P Camden Park. This undated and untitled pencil sketch is possibly by William McArthur of Camden . It depicts his long-time Aboriginal friend Doctor Ellis, a doctor, guide, and informant regarding botanical specimens. Reference: M. Organ (unpub. mss 1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Lincolne Abraham (1815-1884)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Abraham Lincolne (1815-1884)
Abraham Lincolne arrived in Sydney on 30 January 1838 , and travelled to Illawarra in 1840 to take up a position as superintendent of the Woodstock Mills at Jamberoo. Between 1840-44 he lived at Jamberoo and produced a number of highly detailed pencil sketches of landscapes and properties in the area, including views of Kiama. In 1844 he was ruined by floods and left Illawarra, returning to England between 1848-49. Upon his return to Australia he farmed at Moonie Ponds and on the Campaspe River, Victoria. The listed pencil sketches are included in Lincolne's Australian Sketches album in the Mitchell Library. The majority of the works contain an accompanying descriptive text. References: ADB (1969), Mitchell Library, Kerr (1992).
1. Kiama - southern part of town
P ML C305
2. Halesworth, Illawarra, Co. Camden . 1 mile south of Kiama
P ML C305
3. View from Halesworth to the North
P ML C305
4. Fig Tree Farm Homestead , Jamberoo, Illawarra
P ML C305. Illustrated Henderson , 1983, p61, b/w.
5. Illawarra [Figtree and Cabbage palms by Lake Illawarra ]
P ML C305
6. Drue Walla, Illawarra
P ML C305
7. Wauch-Hope, Jamberoo, Illawarra
P ML C305
8. Blow Hole at Kiama
P ML C305
9. Kiama church
P ML C305. Illustrated Piggin, 1984, p72.
10. Mary, Five Islands Tribe, Illawarra
W/C ML C305
11. Minamurra, District of Illawarra
P ML C305. Illustrated Henderson , 1983, p109.
12. Kiama, Northern Part of Township
P ML C305. Illustrated Henderson , 1983, p124.
13. Figtree and Cabbage palms
P ML C305
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Henderson John Black (1827-1918)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 Black Henderson (1827-1918)
1. Old Bridge , Bulli Pass 1875
W/C 13.4 x 21.6 ML SSUIB/BULP/1
References: McCulloch (1968), Campbell (1983).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Slade George Penkivil 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 Penkivil Slade
G.P. Slade was a student of Conrad Martens and exhibited with him at the New South Wales Academy of Art during the 1870s.
1. Wollongong 7th Dec. 1861
W/C 13.3 x 17.5 Sothebys 4/89
2. Kiama from the Blowhole Hill 9 Dec. 1861
W/C 13.5 x 17.5 Sothebys 4/89
3. Kiama 11 Dec'r 1861
W/C 17.3 x 25.5 Sothebys 4/89
4. Shoalhaven River 14 Dec. 1861
W/C 13.2 x 18.7 Sothebys 4/89
5. Shoalhaven River . Mount Elrington 14 Dec. 1861
W/C 12.6 x 18.8 Sothebys 4/89
6. Shoalhaven
P & Wh 36.0 x 55.9 ML VIB/SHOAL/R
Reference: Kerr (1992).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Forde Helena (nee Scott) (1832-1910)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Helena Forde (nee Scott) (1832-1910)
Helena Forde was the sister of Harriet Scott (refer above). Both women went noted botanical artists. They also received tuition in the use of watercolour from Conrad Martens. In her Collection of Sketches of NSW, Mitchell Library PX*D105.
1. Coonandarria, or The Waterfall, Wollongong August 1863
P ML PX*D105 f.1
2. Five Islands from the front of St Michael's Church, August 1863. Wollongong
P ML PX*D105 f.2
3. Para or Fairy Creek. July, 1863
P ML PX*D105 f.3
4. Eudenderra or Berkeley Avenue . July,1863
P ML PX*D105 f.4
5. `Whon' or Lake Illawarra from Flagstaff Hill, Berkeley , August 1863
P ML PX*D105 f.5
6. The Road up Mt. Keira , Wollongong . August, 1863.
P ML PX*D105 f.6
7. Up Mt. Keira , Wollongong . August 1863.
P ML PX*D105 f.7
References: McCulloch (1968), Campbell (1983), Kerr (1992), De Vries-Evans (1993).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Scott Helena (later Forde) (1832-1910)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Helena Forde (nee Scott) (1832-1910)
Helena Forde was the sister of Harriet Scott (refer above). Both women went noted botanical artists. They also received tuition in the use of watercolour from Conrad Martens. In her Collection of Sketches of NSW, Mitchell Library PX*D105.
1. Coonandarria, or The Waterfall, Wollongong August 1863
P ML PX*D105 f.1
2. Five Islands from the front of St Michael's Church, August 1863. Wollongong
P ML PX*D105 f.2
3. Para or Fairy Creek. July, 1863
P ML PX*D105 f.3
4. Eudenderra or Berkeley Avenue . July,1863
P ML PX*D105 f.4
5. `Whon' or Lake Illawarra from Flagstaff Hill, Berkeley , August 1863
P ML PX*D105 f.5
6. The Road up Mt. Keira , Wollongong . August, 1863.
P ML PX*D105 f.6
7. Up Mt. Keira , Wollongong . August 1863.
P ML PX*D105 f.7
References: McCulloch (1968), Campbell (1983), Kerr (1992), De Vries-Evans (1993).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

de la Darreras Fview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
F. de la Darreras
1. Bulger, Illawara coast 1863 Sep. 29
Pen and ink 23.1 x 33.1 NLA. Most likely refers to the Bulgo Mountain on the coast just to the north of Stanwell Park .

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Wiseman Sir 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.
Sir William Wiseman
1. Tom Thumbs Lagoon, Illawarra District ....
Ink & grey wash 17.9 x 25.5 ML PXA115 f.5. This work contains the following inscription across the top: "Tom Thumbs Lagoon, Illawarra District. This lagoon so called from Bass having passed over the sand bar which divided it from the sea, in a small boat called the Tom Thumb." Reference: Mitchell Library Small Picture File.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Benson William (1848-1927)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 Benson (1848-1927)
According to Kerr (1992), William Benson, a travelling artist and Quaker, visited Wollongong in 1866-68. He kept descriptive journals which are illustrated with sketches of local buildings, flora, fauna, and maps. References: Kerr (1992).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Chevalier Nicholas (1828-1902)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Nicholas Chevalier (1828-1902)
Nicholas Chevalier arrived in Melbourne in 1855, after many years of study in Europe . He travelled extensively throughout Victoria and New Zealand , visiting New South Wales in 1868 just prior to his departure for England .
1. Woolongong 5/2/68
W/C 19 x 32.3 WCG. Signed and dated l.l. Inscribed l.r.
References: McCulloch (1968), Kerr (1992).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Leighton Stanley (1837-1901)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Stanley Leighton (1837-1901)
1. Cabbage tree palms, Illawarra, NSW 25 Aug 1868
W/C 25.2 x 17.9 NLA R4161
2. The Blowhole, Kiama, Illawarra, NSW 25 Aug 1868
W/C 14.6 x 24.8 NLA R4162
3. Woollongong, Illawarra, from the top of the Bulli Pass 26 Aug 1868
W/C 17.5 x 24.8 NLA R4160
References: Campbell (1989).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Piguenit William Charles (1836-1914)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
William Charles Piguenit (1836-1914)
1. Sunrise from the coast near Clifton , Illawarra
Oil 45.7 x 76.2 Private. Illustrated Christies, October 1972, p12; Art & Australia, 1973
References: Moore (1934), McCulloch (1968), Kerr (1992).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Hern Charles Edward (1848-1894)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Charles Edward Hern (1848-1894)
1. The High Rocks, Bulli Pass , Morning
W/C 14 x 30 Private. Illustrated Sothebys 17 November 1988 , 250, colour.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Montague Fernleigh Lview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Fernleigh L. Montague
1. Fall on the Ousedale Creek near Illawarra district, New South Wales 1875
Oil 30.4 x 37.8 Private. Copy at Mitchell Library Small Picture File, incorrectly titled `Illawarra 1835'.
References: McDonald (1986).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

James Howe Carse (1819-1900)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
James Howe Carse (1819-1900)
Carse executed a number of Illawarra views, portraying in a very romantic mood the bush around Lake Illawarra , Minamurra, and Kangaroo Valley to the south.
1. Aboriginal figures by Lake Illawarra 1875
Oil 42.5 x 70.5 Christies 4/86
2. Aborigines by Lake Illawarra 1875
Oil on cardboard Private
3. Aborigines on the bank of Lake Illawarra
Oil 33.5 x 52 Christopher Day /88
4. Minamurra Creek
Oil 29 x 33 Sothebys 4/87
5. Bulli Pass , with cattle, stockman and dog
Oil 49 x 67 Ellendens 3/78
6. Lake Tilba , Mount Dromedery c1875
Oil 23 x 59 Diggins
7. Burragorang Valley , near Picton 1879
Oil 90 x 120 AGNSW
8. Kangaroo Valley , N.S.W. 1882
Oil 41.5 x 56 Lawsons 12/87
9. The Old Wollongong Road - The Bulli Pass
Oil 50 x 69 AAA 3/82
References: Moore (1934), McCulloch (1968), France (1988), Edwards & Gowing (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

King Reverend Robert Lethbridge view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Reverend Robert Lethbridge King
1. Looking southward from Wollongong , Illawarra, May 22 1875
Wash ML MSS673 4/9 f.4-5
2. [Town of Wollongong from Flagstaff Hill]
P & Wash ML MSS673 4/9 f.8-9
3. [Looking west from Flagstaff Hill] 24th May 1875
P & Wash ML MSS673 4/9 f.13-14
4. The Bangalow and Cabbage Tree Palms, Wollongong May 25 1875
P ML MSS673 4/9 f.15
Located within the King Family Papers, Mitchell Library. Nos. 1-3 form a panorama in 6 parts.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Conder Charlesview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Charles Conder (1868-1909)
1. Stockyard nr. Jamberoo 2 Dec 1886
Oil 21.4 x 28 DG263. Illustrated Mourot & Jones, 1979, p77; Clark & Whitelaw, 1985, p59
2. Wee Jasper 1886
Oil Private
3. National Park 1889
Oil Private
4. South Coast Evening
Oil Private
References: McCulloch (1968), Campbell (1983), Clark & Whitelaw (1985).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Kerry Charles 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 Kerry
1. Photographic Views of New South Wales Towns
Glass negatives 11.9 x 16.5 DG ON3. Contains photographs of Illawarra and the South Coast .
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Troedel Charles 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 Troedel
1. Road on Pass towards Wollongong 1878
Chromolithograph 22 x 15 NLA 54882
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Bass William Cview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
William C. Bass
1. ‘The Blue Mountains’ New South Wales , near Wollongong 1879
W/C 25.5 x 44.5 NLA T2114
Reference: Kerr (1992).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Andrews William ( 1840-1887)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 Andrews ( 1840-1887)
1. Bulli Road , The Pass
W/C 27.4 x 20 DL PX2 f.40
References: Campbell (1983).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Buvelot Abram Louis (1814-1888)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Abram Louis Buvelot (1814-1888)
1. Farmhouse at Kangaroo Ground
W/C 19.5 x 34.5 LJ 5/79. Kangaroo Valley near Kiama was also known as Kangaroo Ground, though whether this is the same locality as in Buvelot's painting is unclear as the artist mainly worked in Victoria and this may depict a Kangaroo Ground in that State. Reference: Craig (1982), Kerr (1992).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Gregory Frederick (1852-1890s)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by MichaGeorge Frederick Gregory (1852-1890s)
1. The Allowrie
W/C 34 x 53 Lawsons 7/81
2. The Kameruka
W/C 35 x 55 Lawsons 7/81
Reference: Craig (1982), Kerr (1992).
el Organ.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

North Marianne (1830-1890)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Marianne North (1830-1890)
Marianne North was an amateur landscape and botanical artist who, according to her published memoirs, visited Illawarra around this time. No specific Illawarra works by her have yet been identified, though she is known to have painted whilst in the region. Reference: Vellacott (1986).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Douglas Jessie view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Jessie Douglas
1. Kiama, Illawarra 1881
W/C 20.4 x 44.6 ML V1B/Kaim/2
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Forster W Jview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
W.J. Forster
1. S.S. Bega 1883
W/C & gouache 40.3 x 62.7 WCG. Illustrated France (1988).
2. S.S. Illawarra 1888
W/C & gouache 53.4 x 74.8 WCG.
The SS Bega (567 tons gross) was a screw steamer built in Glasgow in 1883. She operated along the South Coast until she mysteriously sank suddenly off Bermagui on 4 April 1908 . The SS Illawarra (522 tons gross) was the second paddle steamer to bear that name on the South Coast run. She was built in Newcastle on Tyne in 1879 and until 1908 operated as a regular passenger service between Sydney , Wollongong , and Shoalhaven. She was eventually broken up in 1911. The Illawarra was the last of the great paddle steamers to ply along the southern coast of New South Wales . References: Andrews (1979), France (1988), Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

McCubbin Fred (1855-1917)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Fred McCubbin (1855-1917)
1, Bulli Pass
Oil on board 10.5 x 15 Private. Fred McCubbin was one of the Heidelberg School of Australian impressionist painters. References: McCulloch (1968), Gleeson (1976), Clark & Whitelaw (1985).
1885
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Aurousseau Georges Hippolyte (1864-1953)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Georges Hippolyte Aurousseau (1864-1953)
1. Scarborough c1885
W/C WCL
References: Campbell (1983).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Ashton Julian Rossi (1851-1942)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Julian Rossi Ashton (1851-1942)
1. Kiama Blowhole
Wood engravings, in Garran, 1886-8, p48
2. Kiama
Wood engraving, in Garran, 1886-8, p140. Illustrated Vellacot, 1986, p45
3. Wollongong from the Lighthouse
Wood engraving, in Garran, 1886-8, p139
4. The Wollongong Lighthouse
Wood engraving, in Garran, 1886-8, p139
5. Shoalhaven River 1891
W/C 58.1 x 92.2 AGNSW
References: McCulloch (1968), Dysart (1981), Campbell (1983), Clark & Whitelaw (1985), Edwards & Gowing (1989).
1886
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Delaware Valentine view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Valentine Delaware
1. Coledale c1892
Oil on paper 37 x 32 Private
2. Breakwater on the Shoalhaven above Nowra
Oil 23 x 62 Christies 3/77
3. Darkes Road, Dapto - Illawarra
Oil 30 x 40 Grey 3/80
4. Farm Creek, Wollongong
Oil 30 x 50 AAA 10/80
5. On the South Coast Above Bulli
Oil 45 x 35 Grey 5/79
6. Pinder's Lagoon, Shoalhaven
Oil 31.5 x 92.5 LJ 5/80
References: Craig (1982), McCulloch (1968), France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Moroney C Jview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
C.J. Moroney
1. Henry Kendall, Shingle Splitting, Illawarra
Oil on ironbark 44 x 27 ML279
Henry Kendall was Australia 's first native-born poet of renown. His home was in Kiama, where his family had resided for a number of years. Reference: France (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Fullwood Albert Henry (1863-1930)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Albert Henry Fullwood (1863-1930)
1. National Park
3 Engravings, in Garran, 1886-8, p97
2. Cathedral Rocks, Kiama Sept-Oct 1891
W/C 61 x 96.5 AGNSW
3. Jervis Bay and Shoalhaven River 1891
W/C 54.5 x 100 AGNSW
4. Kangaroo Valley 1891
W/C 61 x 96.5 AGNSW
5. Illawarra, from Mount Pleasant , N.S.W. 1891
W/C 59.7 x 95.9 Christies 10/74
6. The Bulli Pass , Illawarra, NSW
W/C 15 x 22 Christies 10/76
7. Illawarra from Bulli Pass 1892
Oil on canvas 122 x 214 WCG
8. Blow Hole, Kiama, Illawarra NSW
Postcard 13.8 x 8.8. Published c1920 by Raphael Tuck & Sons of England .
9. Stanwell Park , Illawarra NSW
Postcard 8.8 x 13.8. Published c1920 by Raphael Tuck & Sons of England .
10. Illawarra, NSW [View from Sublime Point, Bulli]
Postcard 8.8 x 13.8. Published c1920 by Raphael Tuck & Sons of England .
11. The Bulli Pass , NSW
Postcard 8.8 x 13.8. Published c1920 by Raphael Tuck & Sons of England .
12. View from Mount Pleasant , Illawarra, N.S.W.
Postcard 8.8 x 13.8. Published c1920 by Raphael Tuck & Sons of England .
13. Cathedral Rocks, Kiama, Illawarra, NSW
Postcard 8.8 x 13.8. Published c1920 by Raphael Tuck & Sons of England .
14. Stanwell Beach , NSW, 1925
Oil on panel 13.5 x 17.5 Private
15. Stanwell Park
Etching 18 x 28 AAA 9/79
References: Gleeson (1976), Grey (1983), Clark & Whitelaw (1985), Edwards & Gowing (1989), Craig (1982).
1887
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Bryant Charles (1883-1937)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 Bryant (1883-1937) & W.A. Clarkson
1. Wollongong , New South Wales 1887
Lithograph 54 x 88 WCL. Supplement to the Illustrated Sydney News of 5 October 1887 . Lithography by W.A. Clarkson, after a drawing by Charles Bryant.

Town & Country Journal
1. Dapto 5 February 1887 p282
2. Wollongong harbour 20 August 1887 p383,392. Also used as a motif on a German tea-set. IHS
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Clarkson W Aview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Charles Bryant (1883-1937) & W.A. Clarkson
1. Wollongong , New South Wales 1887
Lithograph 54 x 88 WCL. Supplement to the Illustrated Sydney News of 5 October 1887 . Lithography by W.A. Clarkson, after a drawing by Charles Bryant.

Town & Country Journal
1. Dapto 5 February 1887 p282
2. Wollongong harbour 20 August 1887 p383,392. Also used as a motif on a German tea-set. IHS
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Mickey (Willie) the Crippleview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Mickey (Willie) the Cripple
‘Willie the Cripple’ was an Aboriginal from the Unanderra area near Lake Illawarra, who produced a number of works around 1888 when he was given some pens and paper by a local shop merchant.
1Corroboree c1888
Ink, Crayon & P 42.5 x 67.6 Private. Illustrated Christies, 7 October 1986
2. Untitled c1888
W/C, P & Ink on paper 43 x 67.7 Private. Illustrated Christies, 7 October 1986; France, 1988
3. The Peterborough Steamer at Ulladulla. Drawn by "Mickey" an Australian Aboriginal. A cripple over 60 years of age. 1888.
Pencil + colour ML V*AusAboArt/1
4-5. Untitled (2 drawings mounted together)
Pencil + colour ML V*AusAboArt/2
6. Untitled
Inscribed `By the late Micky the Cripple, Aboriginal, Ulladulla.' Pen, ink, crayon and pastel NLA
7. Untitled
Inscribed `By the late Micky the Cripple, Aboriginal, Ulladulla.' Pen, ink, crayon and pastel NLA
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Willie - Mickey (Willie) the Crippleview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Mickey (Willie) the Cripple
‘Willie the Cripple’ was an Aboriginal from the Unanderra area near Lake Illawarra, who produced a number of works around 1888 when he was given some pens and paper by a local shop merchant.
1Corroboree c1888
Ink, Crayon & P 42.5 x 67.6 Private. Illustrated Christies, 7 October 1986
2. Untitled c1888
W/C, P & Ink on paper 43 x 67.7 Private. Illustrated Christies, 7 October 1986; France, 1988
3. The Peterborough Steamer at Ulladulla. Drawn by "Mickey" an Australian Aboriginal. A cripple over 60 years of age. 1888.
Pencil + colour ML V*AusAboArt/1
4-5. Untitled (2 drawings mounted together)
Pencil + colour ML V*AusAboArt/2
6. Untitled
Inscribed `By the late Micky the Cripple, Aboriginal, Ulladulla.' Pen, ink, crayon and pastel NLA
7. Untitled
Inscribed `By the late Micky the Cripple, Aboriginal, Ulladulla.' Pen, ink, crayon and pastel NLA
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Frank Louisview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Louis Frank
1. The Bulli Jetty and Sandon Cottage
Oil 44 x 90 Private
2. The Devils Elbow 1890
Oil on canvas 59.3 x 39.3 Private
3. The Collier Governor Blackall
Oil Private
4. Near Wollongong, New South Wales
Oil 34 x 65 LJ 3/83
References: Craig (1982), McCulloch (1968), Wilson (1980), France (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Genevar Eview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
E. Genevar
1. A foggy morning off the coast near Shoalhaven
Oil on cardboard 30.4 x 49 Private
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Nerli Girolamo view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Girolamo Nerli
1. View from the Garden, Jervis Bay, New South Wales
Oil 26 x 36.5 Private. Illustrated Sothebys, 23 March 1983 , cat 22, b/w. Reference: Campbell (1983).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Quaife Francis view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Francis Quaife
1. Aborigines on the bank of Illawarra Lake
W/C 26.5 x 37 Private
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Campbell Percy
view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Percy Campbell
1. Bombadery Creek, Shoalhaven Creek
Oil 48 x 38 Pickles 7/82.Reference: Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Paton E Sview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
E.S. Paton
1. Mt Keira, Wollongong 1891
Oil 50.2 x 67.9 ML206
2. View from Wollongong Quay, NSW, 1892
Oil 38.9 x 67.9 ML260
3. Cathedral Rocks, Kiama 1901
Oil 61 x 77 ML186
4. Wollongong Hills
Oil 50.9 x 65.8 ML178
5. Minamurra River
Oil 50.4 x 75.7 ML177
Reference: France (1988)
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Finlayson Mrview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Mr Finlayson
Album of photographs of the Kiama district, by Samuel Cocks and others. Mitchell Library.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Rider & Mercer (Lithographers)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Rider & Mercer (Lithographers)
1. View of Wollongong
Lithograph 70.8 x 113 WCL. Supplement to the Illawarra Mercury. Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Streeton Arthur (1867-1943)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Arthur Streeton (1867-1943)
1. Vale of Mittagong 1892
W/C 55.7 x 96.1 NGV. Illustrated Galbally (1969, p29).
2. Looking South from Austinmer 1924
Oil 18 x 63.5 Private.
Reference: Galbally (1969), Gleeson (1976), Clark & Whitelaw (1985).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Cocks Samuel 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 Cocks
1. Views of Jamberoo, July 1905
Photographs ML PX*D577 pp21-24.
2. Photographs
Wollongong University Archives
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Dudley Nview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
N. Dudley
1. Bulli Methodist Church 1893
? WCL
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Esling Henry (1893-1915)
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 Esling (1893-1915)
Henry Esling arrived in Australia in 1883 and worked as a painter and house decorator.
1. Barilla Street, Woollongong
P & ink 23.5 x 27.8 ML A1433 f.29
2. Woollongong Public School
P & ink 23.5 x 27.8 ML A1433 f.30
3. Beach Woollongong
P & ink 23.5 x 27.8 ML A1433 f.31
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Frazer F Hview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
F.H. Frazer
1. Natives, South Coast 1894
Oil on canvas 82.5 x 57.5 Private
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Minns Benjamin Edward (1864-1937)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Benjamin Edward Minns (1864-1937)
1. Heads of Australian Aborigines (Merriman, King of Bermagui; Coonimon; Droab, Bermagui) 1894
W/C (3) 30 x 22 AGNSW
2. The timber getters, south coast 1933
W/C 22 x 29 Private
References: France (1988), Campbell (1989), Edwards & Gowing (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Mylius Stanley view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Stanley Mylius
1. South Bulli, 30 Nov 1895
W/C 21 x 34 NLA
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Figtree Lavina view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Lavina Figtree
1. Main Street, Wollongong 1897
Oil on canvas 20.5 x 41 Private
2. Main Street, Wollongong, with Constable Noble 1903
Oil 23 x 30.5 Private
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Raworth William Henry (1820-1905)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
William Henry Raworth (1820-1905)
1. South Coast Road Near Austinmer Illawarra, 1898
W/C 25 x 47.5 LJ 11/79
Reference: Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Roberts Tom (1856-1931)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Tom Roberts (1856-1931)
1. At Clifton [1898]
Oil 14.6 x 21.6 Private
2. The Coast near Stanwell Park 1898
Oil 12 x 19.8
Lionel Lindsay Collection, Toowoomba, Queensland
References: Topliss (1984), Clark & Whitelaw (1985), France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Heunert Hview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
H. Heunert
1. On the Road to Bulli Pass 1898
W/C 29.5 x 25.2 Bridget McDonnell Gallery 3/90
2. On the Bulli-Wonoona Road
W/C 29.8 x 25.2 Bridget McDonnell Gallery 3/90
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Fitzgerald Gerald (1873-1935)
view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Gerald Fitzgerald (1873-1935)
1. Mount Kembla, NSW 1898
W/C 28 x 36 Christies 7/77. Also Lawsons May 1976.
2. Keira, Illawarra 1898
W/C 39 x 64 LJ 3/83
3. Near Kangaroo Valley 1909
W/C 28 x 38 Pickles 11/77
4. South Coast 1923
Oil 51 x 152 Christies 10/77
References: Craig (1982), McCulloch (1968).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Henry T Sview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
T.S. Henry
1. Illawarra Beach 1898
W/C 35 x 53 LJ 5/75. Also Pickles 3/76.
Reference: Craig (1985).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Phillip Samuel 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 Phillip & Adam Stephan
1. Bulli Forest, NSW
Coloured photolithograph 36.5 x 29.5 NLA. Engraved by Adam Stephan from a photograph by Samuel Phillip. Illustrated Ritchie, 1989, p132
1901
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Stephan Adam 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 Phillip & Adam Stephan
1. Bulli Forest, NSW
Coloured photolithograph 36.5 x 29.5 NLA. Engraved by Adam Stephan from a photograph by Samuel Phillip. Illustrated Ritchie, 1989, p132
1901
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Gates Walter Eview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Walter E. Gates
1. Views in Sydney and New South Wales
Photographs ML PXB130-131.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Cambridge A Hview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
A.H. Cambridge
1. Major Henry Osborne McCabe 1903
Oil 65.5 x 52.5 IHS. Major McCabe was killed in the Mount Kembla mining disaster of 31 July 1902, when he entered the mine to save trapped workers. This painting was commissioned in his honour. Reference: France (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Cosh John 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 Cosh
1. Wollongong c1920
W/C 27 x 38 NLA R5441

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Muskett Alice Jview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Alice J. Muskett
1. The curve of the shore 1908
Oil 15 x 35.5 Private. References: McCulloch (1968), France (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Long Sydney (1871-1955)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Sydney Long (1871-1955)
1. Fig Tree, Stanwell Park 1909
W/C 54.2 x 46 ANG. Illustrated Campbell, 1989, p92
2. Cambewarra Creek Nowra, NSW
Oil 14 x 19 LJ 5/79
References: Long (1928), McCulloch (1968), France (1988), Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Fox Ethel Carrick (1872-1952)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Ethel Carrick Fox (1872-1952)
1. Stanwell Park 1910
Oil on board 15.5 x 22 Ervin
2. South Coast Landscape
Oil 26 x 35 Grey 3/84
Reference: Carrick (1979), Burke (1980), France (1988), Campbell (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Fox Emmanuel Phillips view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Emmanuel Phillips Fox
1. Moonrise, Stanwell Park
Oil 37 x 45 Private. Illustrated Sothebys 8 April 1990, 94, colour.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Allen Arthur Wigram view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Arthur Wigram Allen
Photographs of Wollongong, 14 September 1910. Mitchell Library PX*D588, PX*D593, PX*D606.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Mort Eirene view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Eirene Mort
1. Kiama Viaduct 1910
2. Kiama Skyway 1913
3. Coledale Pier 1916
Etching
4. Jamberoo Matriach 1917
5. Austinmer 1920
P 18.7 x 20 NLA
6. Austinmer with cows 1920
7. Austinmer with goats 1920
8. Coledale Pier 1920
9. Coledale Fisherman's Huts
10. Mt Kembla 17.12.20
P 19.4 x 20 NLA
11. Wollongong Harbour 1921
P 12 x 20 NLA R5004
12. Port Kembla 5.3.23
P 12.7 x 20.2 NLA
13. Port Kembla in its infancy 1923
14. Jamberoo architecture 1926
15. Figtree Smith 1927
16. Unanderra 1927
17. Shellharbour 1927
18. Port Kembla 1928
19. Mount Kembla Farm 17.2.28
P 19.4 x 19.9 NLA
20. Port Kembla in the Twenties
W/C 18.1 x 25.2 NLA
References: McCulloch (1968).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Hilder Jessie Jewhurst (1881-1916)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Jessie Jewhurst Hilder (1881-1916)
1. River Bank, Bega
Pen & pencil Private. Illustrated Hilder, 1918, plate xxxiii. References: Hilder (1918), Hanks (1982), Campbell (1983).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Lister Lister William (1859-1943)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 Lister Lister (1859-1943)
1. Bulgo Rocks, Stanwell Park
W/C 26.2 x 51 IHS
2. Coast at Coalcliff
W/C 37 x 53 Pickles 5/75
3. South Coast
Oil 128 x 170 Lawsons 3/78
4. Berry landscape on the Shoalhaven River, Southern N.S.W.
W/C AGWA
5. The Ponds of Mount Keira, near Wollongong NSW c1910
W/C 34.3 x 80 Brown Aut/79
6. Majesty and beauty of Australian Coast
Postcard 8 x 11.2 Private. View of the Illawarra coastline looking south towards Stanwell Park .
7. South Coast Foreshore
Oil 29 x 91 Pickles 3/79
8. Jamberoo South Coast
Oil 127 x 170.5 LJ 11/78
9. South Coast - New South Wales
W/C 36 x 69 Grey 7/79
10. Stanwell Park, New South Wales
W/C 94 x 150 Private. Illustrated Christopher Day, Winter 1985, 52, colour.
Reference: France (1988), Campbell (1989), Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Cocks R Sidney ( -1947)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
R. Sidney Cocks ( -1947)
1. Off Kiama, N.S.W.
W/C 49.9 x 37.3 NERAM
2. Farm building with cattle and cart
W/C 15 x 28 Private
3. Stone bridge
W/C 20 x 30 Private
Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

John Cassie Carter view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Cassie Carter John
1. The beach and the mouth of the creek near North Wollongong c1914
Oil 30.3 x 45.7 ML824
2. The creek near North Wollongong between the bridge and the coast c1914
Oil 30.3 x 45.7 ML825
3. Crown Street, Wollongong
Oil 18 x 35 ML828
4. Homestead at the foot of Mount Kembla c1917
Oil 20 x 35.4 ML829
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Lindsay Sir Lionel (Arthur) (1874-1961)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Sir Lionel (Arthur) Lindsay (1874-1961)
1. At Albion Park 1918
Hand-coloured etching 17 x 18.8 DL.Reference: France (1988), Campbell (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Lindsay Norman (Alfred William) (1879-1969)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Norman (Alfred William) Lindsay (1879-1969)
Norman Lindsay regularly visited his favourite physician, Dr. Francis Crossle, at his Bulli residence during the period 1918-1945. It is quite possible that various sketches, oils and watercolours of the South Coast by Lindsay. Lindsay also often went on fishing holidays with Dr. Crossle to Batemans Bay. Reference: Gleeson (1976), Campbell (1989), Davis (1989, 1990).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Lindsay Percy (Perceval Charles) (1870-1952)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Percy (Perceval Charles) Lindsay (1870-1952)
1. Lake Illawarra
Reference: McCulloch (1968), Campbell (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Coffey Alfred (1869-1950)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Alfred Coffey (1869-1950)
1. The Swimming Pool, Austinmer Beach 1918
Oil on board 22 x 30 Bussell 1989
Reference: McCulloch (1968), Campbell (1989).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Coen Margaret view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Margaret Coen (1913- )
Artist, and wife of Douglas Stewart. Painted in Thirroul during the 1930s.
Reference: McCulloch (1968).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Hargrave Hilda Ann view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Hilda Ann Hargrave
1. View near Stanwell Park
W/C 15.5 x 23 IHS. Reference: France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Ashton Sir John William (1881-1963)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Sir John William Ashton (1881-1963)
1. South Coast
Oil 36 x 44 Grey 6/83
2. Narooma, South Coast
Oil 27 x 37 Grey 5/79
Reference: Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Blianch ?view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Blianch, ?
1. Austinmer c1920
Oil Private
2. Austinmer c1920
Oil Private

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Eyre Gladstone (1863-1933)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Gladstone Eyre (1863-1933)
1. Wier's Point, Gerringong
W/C 23 x 70 Pickles 8/81
Reference: Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Boyd Theodore Penleigh view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Theodore Penleigh Boyd
1. Kangaroo Ground
Oil 60 x 90.5 Private. Illustrated Sothebys 29 November 1990, 224, colour. Reference: Hanks (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Dattilo Rubbo Anthony (1870-1955)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Anthony Datillo Rubbo (1870-1955)
1. Ringbarked Landscape Near Jamberoo
Oil 28 x 38 LJ 11/77. Reference: Campbell (1980), Craig (1985).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Ashton Julian Howard (1877-1964)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Julian Howard Ashton (1877-1964)
1. Grey Day, Illawarra 1920
Oil 15 x 22 AAA 6/82
Reference: Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Moore John Drummond (1888-1958)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 Drummond Moore (1888-1958)
1. Austinmer 1922
Pencil Private. Illustrated Art in Australia , August 1923.
2. Austinmer 1925
Oil on board 28.3 x 39.4 ANG.
Reference: Ure Smith & Gellert (1933), McCulloch (1968), France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Gostelow Ebenezer Edward (1867-1944)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Ebenezer Edward Gostelow (1867-1944)
1. Sterculia acerifolia (Flame tree) Sterculiaceae, Illawarra scrub, Dec.
W/C 33.5 x 24.2 NLA
2. Crinum pedunculatum (Illawarra lily), Amaryllidaceae, Illawarra swamp, Dec.
W/C 33.5 x 24.2 NLA
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Campbell Robert (1902-1972)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Robert Campbell (1902-1972)
1. The Beach, Austinmer 1925
Oil on panel 9.5 x 20.8 ANG. Illustrated North (1973).
2. North from Austinmer
Oil 39 x 49 Grey 3/76
3. Morning, Gerringong NSW 1936
Oil Private
4. Stanwell Park
Oil on cardboard Private
5. South Coast of New South Wales
Oil 41 x 51 Private. Illustrated Christies, 31 October 1990, cat 51.
References: McCulloch (1968), Campbell (1973), North (1973), France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Auld James Muir (1879-1942)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 Muir Auld (1879-1942)
1. Shellharbour, South Coast 1925
W/C 25 x 27 Joel 11/77
Reference: McCulloch (1968), Hanks (1982), Craig (1985).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Gruner Elioth (1882-1939)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Elioth Gruner (1882-1939)
Elioth Gruner is known to have spent time at Bulli during the 1920s, staying with his friend Dr. F.C. Crossle.
1. The Kangaroo Valley 1925
Oil 33 x 25 Bussell 6/86
2. Kangaroo Valley 1925
Oil 26 x 34 Sothebys 7/87
3. South Coast, New South Wales
Oil 29 x 39 Private. Illustrated Sothebys 29 November 1990, 250, colour.
4. South Coast
Oil Private
5 Kiama
Oil 16 x 43 Lawsons 7/81
Reference: Ure Smith & Gellert (1920), Lindsay (1947), McCulloch (1968), Gleeson (1976), Davis (1989, 1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Barrett 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 Barrett
1. On the Shoalhaven River 1926
W/C 18 x 27 LJ 3/83
Reference: Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Perry Adelaide (1890-1973)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Adelaide Perry (1890-1973)
1. Coledale Beach looking north 1927
Oil 35.5 x 45 Private. Illustrated Deutscher, 1993, p24, colour.
1. Coledale Beach and Village
Oil Private. Illustrated Art in Australia, September 1927, p31, colour; Ambrus, 1992, 211.
2. South Coast
Oil on canvas 45 x 55 Private
3. Boatshed 1940
Oil 24 x 34 Private
Reference: McCulloch (1968), France (1988), Ambrus (1992), Deutscher (1993).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Sherman Albert T (1882-1971)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Albert T. Sherman (1882-1971)
1. Macquarie Rivulet
Oil 36.5 x 42.5 Sothebys 4/89
2. Cambewarra Valley
Oil 27 x 35 Grey 6/80
Reference: McCulloch (1968), Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Commons Donald George Grant (1855-1942)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Donald George Grant Commons (1855-1942)
1. Tilba Tilba
Oil 18 x 54 Joel 9/77
Reference: McCulloch (1968).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Wollongongview 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

Murch Arthur James (1902-1989)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Arthur James Murch (1902-1989)
1. Beach Idyll. Thirroul 1930
Tempera on canvas 35.5 x 59.1 AGNSW. Illustrated Thomas, 1988, p154. A number of associated works are to be found in the New England Regional Art Gallery. Murch did a lot of painting whilst holidaying at Thirroul. Reference: Ure Smith (1945), McCulloch (1968), Thomas (1977), Germaine (1984), Dutton (1985), Campbell (1989), Edwards & Gowing (1989), Sayers (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Johnson Robert (1890-1964)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Robert Johnson (1890-1964)
1. Afternoon, Kangaroo Valley
Oil Private. Illustrated Art in Australia June-July 1930
2. Bawley Point, South Coast c1947
Oil Private. Illustrated Ure Smith, 1947, p39
3. South Coast, New South Wales
Oil 36 x 44 LJ 3/82
4. South Coast, near Bodalla, New South Wales
Oil 37 x 44 Private. Illustrated Sothebys 17 November 1988, 132, b/w.
5. South Coast New South Wales
Oil 60.5 x 76 Private
Illustrated Sothebys 24 July 1988, lot 298, b/w. View near Stanwell Park .
Reference: Breckenreg (194-), McCulloch (1968).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Whiting Lorraine (Lorri)view full entry

Reference: Lorri. Original illustrations to 4 poems by George Macbeth. MACBETH, George (1932-1992); LORRI (WHITING, née FRASER, Lorraine; 1927 - 2019)
Painter, sculptor and printmaker Lorraine ‘Lorri’ Whiting (née Fraser) was born in Melbourne in 1927, three years before the birth of her younger brother Malcolm, who would serve as the 22nd Prime Minister of Australia (1975-1983). She was a gifted artist with a rebellious spirit. After her marriage in 1948 to noted Australian writer B. R. ‘Bertie’ Whiting (whose papers are now housed in the National Library of Australia), the couple moved first to London and then to Rome in 1955. Lorri exhibited widely in Italy and the United Kingdom in the 1960s through to the 1980s. Her work is principally abstract, with some examples (including an artist’s book from 1965) being held in the National Gallery of Victoria. Following the death of her husband in 1989, she left an apartment in Rome to the Australia Council which is now the B.R. Whiting Studio, a residency for Australian poets. (From Douglas Stewart Fine Books catalogue, May, 2020)

Publishing details: Rome : Galleria Arco d’Alibert, 1964. Folio (495 x 495 mm), maroon cloth with title labels, pp [16], four original colour ‘lino paintings’ by Lorri, each one signed in the margin of the image in pencil and additionally signed and dated outside the image, illustrating poems by Scottish writer George Macbeth. Limited to 24 copies signed and numbered by the artist and author.
Ref: 1000

Harrison Gwenview full entry

Reference: Quaranta Australis.
A spectcular artistic response to the issues of refugees, detention and the integration of migrants into Australian society. The text quotations are sourced from “In quarantine” by Jean Foley, Sydney: Kangaroo Press, 1995.
“The artists reveal their response to Sydney’s historical colonial site, the Quarantine Station, where the unwanted and marginalised were incarcerated. Their work conveys strong parallels to today’s displaced peoples.” – National Library website.
“The North Head area was used for quarantine of travellers by sea and then by air from 1828. While only a small proportion of immigrants to Australia were interned at the Quarantine Station it is important as a symbol of this process and particularly of the concern that diseases would be contained and the populace would be kept safe. The evolution of the present form of the Quarantine Station was influenced by the modernisation of public health, Australian self-management and a response to local conditions. The principles of human quarantine in the 19th and 20th centuries are illustrated in the overall layout of the Quarantine Station and in its isolated setting. Overlaid on the functional concerns of disease control is the evidence of social stratification, shown in the segregation of passenger accommodation into classes, and the different standards of accommodation which were provided for each. Very few places in Australia retain a setting or a complex of buildings which is so clearly able to demonstrate the notions of class and racial segregation practised in Australia until after World War II”–Environment & Heritage, New South Wales, as at 5/12/2012.” – State Library of New South Wales website.
Two examples are held in Australian collections (National Library of Australia; State Library of New South Wales). [(From Douglas Stewart Fine Books catalogue, May, 2020)

Publishing details: Sydney : Gwen Harrison and Sue Anderson, 2008. Artists’ book, circular shape (395 mm tall), the 20 pages each consisting of an original etching printed on Japanese tissue, laid on paper sheets, mounted with a vellum stub and bound in to an embossed vellum binding with goatskin cords, presented in a folding clamshell box by Wayne Stock. Edition limited to 4 copies, each unique, signed and numbered by the artists.
Ref: 1000

Anderson Sueview full entry

Reference: see Quaranta Australis.
A spectcular artistic response to the issues of refugees, detention and the integration of migrants into Australian society. The text quotations are sourced from “In quarantine” by Jean Foley, Sydney: Kangaroo Press, 1995.
“The artists reveal their response to Sydney’s historical colonial site, the Quarantine Station, where the unwanted and marginalised were incarcerated. Their work conveys strong parallels to today’s displaced peoples.” – National Library website.
“The North Head area was used for quarantine of travellers by sea and then by air from 1828. While only a small proportion of immigrants to Australia were interned at the Quarantine Station it is important as a symbol of this process and particularly of the concern that diseases would be contained and the populace would be kept safe. The evolution of the present form of the Quarantine Station was influenced by the modernisation of public health, Australian self-management and a response to local conditions. The principles of human quarantine in the 19th and 20th centuries are illustrated in the overall layout of the Quarantine Station and in its isolated setting. Overlaid on the functional concerns of disease control is the evidence of social stratification, shown in the segregation of passenger accommodation into classes, and the different standards of accommodation which were provided for each. Very few places in Australia retain a setting or a complex of buildings which is so clearly able to demonstrate the notions of class and racial segregation practised in Australia until after World War II”–Environment & Heritage, New South Wales, as at 5/12/2012.” – State Library of New South Wales website.
Two examples are held in Australian collections (National Library of Australia; State Library of New South Wales). [(From Douglas Stewart Fine Books catalogue, May, 2020)

Publishing details: Sydney : Gwen Harrison and Sue Anderson, 2008. Artists’ book, circular shape (395 mm tall), the 20 pages each consisting of an original etching printed on Japanese tissue, laid on paper sheets, mounted with a vellum stub and bound in to an embossed vellum binding with goatskin cords, presented in a folding clamshell box by Wayne Stock. Edition limited to 4 copies, each unique, signed and numbered by the artists.

Gwen Harrison and Sue Andersonview full entry

Reference: Shore of certain happiness : 1788-2012

Publishing details: Sydney : Gwen Harrison and Sue Anderson, 2012. Quarto (370mm tall), full stained kangaroo with goat spine, pp. [50], comprised of multi-plate sugar-lift and aquatint etched plates, hand-finished with paint, with letterpress text, presented in a clamshell box. Limited to 6 copies signed by the artist.
Ref: 1000

Anderson Sue view full entry

Reference: see Shore of certain happiness : 1788-2012

Publishing details: Sydney : Gwen Harrison and Sue Anderson, 2012. Quarto (370mm tall), full stained kangaroo with goat spine, pp. [50], comprised of multi-plate sugar-lift and aquatint etched plates, hand-finished with paint, with letterpress text, presented in a clamshell box. Limited to 6 copies signed by the artist.

Whiting Lorraine (Lorri)view full entry

Reference: MACBETH, George (1932-1992); LORRI (WHITING, née FRASER, Lorraine; 1927 - 2019). Lorri. 4 original illustrations to 4 quotations from “Curtmantle” by Christopher Fry

Publishing details: Rome : Galleria Arco d’Alibert, January 196r. Folio (505 x 495 mm), black cloth with title labels, slipcase, pp [18], four original colour ‘lino paintings’ by Lorri, illustrating poems by English writer Christopher Fry. Limited to 24 copies signed and numbered by the artist and author.
Ref: 1000

Pam Maxview full entry

Reference: Max Pam : The sea of love

Max Pam was born in Melbourne in 1949, and since the late sixties has lived and worked in Asia, Europe, the Middle East and East Africa, documenting the people and cultured he has encountered during his career. His work has been published in several monographs and journal articles, and his exhibition prints are held in a number of private collections.
His major exhibitions to date include :
1973: University of Melbourne, Melbourne.
1986: Max Pam: 1980-1985, Art Gallery of Western Australia, Perth.
1990: Max Pam: 1971-1990, Comptoir de la Photo, Paris.
1992: Max Pam: Retrospective, Nara Sogo Museum of Art, Nara, Japan.
1999: Signature Works – 25th Anniversary Exhibition, Australian Centre for Photography, Sydney.
2002: Meridian – Focus on Contemporary Australian Art, Museum of Contemporary Art, Sydney.
2002: Red Light, Australian Centre for Photography, Sydney.
2004: stripTEASE – Max Pam, Australian Centre for Photography, Sydney; Australian Embassy, Paris.
“Max said: ‘The Sea of Love is a book that samples the cultures I have lived in over the decades. Its also a book that samples the way I work, how that work has evolved and how processes of obsessive behaviour have been compressed into research via the device of the book. Its also a book that interrogates the human condition, desire, family, territorial peculiarity and otherness. The opening chapter is reflective of the brutal “you can only worship me, you cannot leave me” love the populist despot offers an entire population enforcing loyalty to Big Brother through fear, buttressed through a massive apparatus of security and repression, as well as systematic brainwashing.
The following chapter riffs off an open ended love obsession with Francisco da Goya’s La Maja. His depiction of her is a sea of love. The first time I saw her in the flesh, at the Prado Museum, I stood in front of her for hours, swimming through her, around her, longing for the impossible catharsis of requited love to break over me. Each chapter needed to reflect the love narrative in my life driven as it is by diverse, impossible to anticipate contingencies. This career of mapping emotion as a photographic process has been on a long slow burn, muted or sensitised by shifts in geography and body chemistry with flexing seasonal spikes that are as unpredictable as they are endless. It took me years to ride this lovely dragon in a way that made any sense at all other than the raw first thought best thought addiction I had to that kind of life. ‘” – the publisher.
An exquisite photobook by Max Pam and Pierre Bessard. [from Douglas Stewart Fine Books catalogue, May, 2020]

Publishing details: Paris : Editions Bessard, 2019. Folio, blind embossed red calf, illustrated dustjacket and glassine wrapper, unpaginated, photobook of the artist’s images, printed on high quality matt photographic paper. Edition limited to 1000 copies, with an original signed photograph ‘Chim, Bangkok 1973’ measuring 190 x 125 mm loosely housed within a pocket inside rear pastedown.
Ref: 1000

Ellis Rennieview full entry

Reference: ELLIS, Rennie; STACEY, Wesley
Kings Cross Sydney : a personal look at the Cross by Rennie Ellis and Wesley Stacey.
A photographic look at the infamous Kings Cross district of Sydney, with its iconic melange of locals, tourists, entertainers and hustlers.
Publishing details: Melbourne : Thomas Nelson (Australia), 1971. Quarto, illustrated laminated boards in dustjacket, pp. 80, light foxing to preliminaries, extensively illustrated.
Ref: 1000

Leti Brunoview full entry

Reference: The Neilson Lines monotypes
Introduction by Chris Wallace-Crabbe.
Publishing details: Melbourne : the artist, 1998. Octavo, artist’s binding by Norbert Herold of lettered cloth with papers hand painted by the artist, in a matching slipcase, unpaginated, poems by Neilson, with corresponding imagery by Bruno Leti.
Ref: 1000

Choulai Wendi
view full entry

Reference: Wendi Choulai.
“Wendi Choulai was an internationally recognised artist/ textile designer from Papua New Guinea who exhibited globally and obtained a Masters in Textile Design at Royal Melbourne Institute of Technology. This book is a retrospective of her work and how she reconciled the differences between tribal and contemporary art.”- the publisher.
This beautifully produced book showcases the work of Wendi Choulai, one of the Pacific region’s most significant textile designers. Born in Papua New Guinea and educated in Australia, Wendi Choulai was at ease in both worlds, but drew inspiration from the ritual, dance and grass skirts of her Papuan Besena (extended family). She was the first female graduate in Textile Design from the National Art School in Papua New Guinea, obtained a Master of Textile Design from the Royal Melbourne Institute of Technology and exhibited widely, including the Asia Pacific Triennial in Brisbane with dancers from her Besena.
“Wendi Choulai not only understood that culture was not static, but as a woman with strong beliefs and determination, she actively participated in fast-forwarding its evolution. She turned her energies to investigating how she might incorporate traditional designs into her practice without ‘devaluing’ their original meaning, which was bound inextricably into the ritual of her clan. In addition to confronting the chaos of difference, the third space, she successfully and concurrently negotiated boundaries of gender equality, generational and geographical distance.
Choulai returned again and again to the grass skirt as a textile garment, an icon of ritual and a means of conveying her ideas. For her, the skirt was a metaphor; multi-layered like the overprint, it incorporated traditions and, through interaction with her clan, provided opportunities for legitimate innovation, the past and the future, inseparable and cohesive. In the third space Wendi occupied a privileged position that she recognised as both an opportunity and a responsibility.
Her premature death in 2001 was a tragic end to an immensely creative and intelligent spirit, but through the legacy of her work, her narrative and purpose will continue — she would wish it to, and the world needs desperately to hear her voice, that cautions us to remember the motto of her clan: ‘Aina asia mavaru kavamu’ — We don’t dance for no meaning.” From the Introduction by Jill Kinnear
[from Douglas Stewart Fine Books catalogue, May, 2020]

Publishing details: Melbourne Books, c2009. Quarto, illustrated wrappers, pp. 141, illustrated.
Ref: 1000

Strasser Theo view full entry

Reference: Berlin

Publishing details: Melbourne : Anajah Press, 2014. Quarto, handpainted paper portfolio containing text sheet and 16 colour prints of the artist’s collages. An artist’s book by Melbourne creator Theo Strasser, limited to 25 numbered and signed copies
Ref: 1000

Desai Yaskview full entry

Reference: Yask Desai - Craigieburn, it’s not the same’A simple yet powerful photobook documenting the people of Melbourne’s outer-suburbia. ‘’Craigieburn, it’s not the same’ seeks to examine how a suburb’s economic and social landscape is reflected when photographed.’
Publishing details: Melbourne : Yask Desai, [2018]. Oblong quarto, lettered cloth with pictorial inlay, pp. [108], colour photographs. Printed in an edition of 8 unnumbered copies.
Ref: 1000

de Holesch Denes view full entry

Reference: Paintings by Denes de Holesch
catalogue of 35 works by the Slovakian born artist, invited to Australia in 1938 to join the Northern Territorial Expedition as official artist.

Publishing details: Melbourne : Georges Gallery, 1945. Exhibition catalogue, single sheet of textured card, folded, punched holes for filing,
Ref: 1000

Dobell Williamview full entry

Reference: Dobell loan exhibition

Publishing details: Newcastle City Art Gallery, 1960. Octavo, folding exhibition catalogue, pp. [6]. tipped-on cover illustration, hole punch for filing.
Ref: 1000

Spurrier Stephenview full entry

Reference: The book of first aid and how not to use it 9’An imitation of an instructional manual, in the artist’ “Not an artist’s book” series.’0
Publishing details: [Toowoomba, Qld.] : Ugg Boot Press, [circa 1999]. Oblong octavo, illustrated wrappers, pp. [35], illustrated. Limited to 100 copies signed and numbered by the artist.
Ref: 1000

Strasser Theoview full entry

Reference: Today

Publishing details: Melbourne : Anajah Press, 2016. Quarto, lettered silver felt cover, pp. [72], illustrated. An artist’s book by Melbourne creator Theo Strasser, limited to 30 numbered and signed copies
Ref: 1000

Bates Smart view full entry

Reference: Bates Smart : 150 years of Australian architecture
Charts the development of a nation’s architecture through the work and personalities of a single architectural practice. From Joseph Reed (1853) [Reed & Barnes (1862) ; Reed Henderson & Smart (1883) ; Reed Smart & Tappin (1890) ; Smart Tappin & Peebles (1906) ; Bates Peebles & Smart (1907) ; Bates & Smart (1922) ; Bates Smart & McCutcheon (1926)] to Bates Smart today (1995-), this Melbourne based firm has realised buildings of great distinction and at every scale: from houses, hospitals, schools and universities to some of Australia’s largest public projects like the Royal Exhibition Building and the Crown Entertainment Centre.
Read More

Publishing details: Melbourne : Thames and Hudson Australia, 2004. Quarto, boards in dustjacket, pp. 311, illustrated.
Ref: 1000

Crichton Richardview full entry

Reference: Richard Crichton - catalogue of 41 works

Publishing details: Melbourne : Gallery A., 1960. Octavo, illustrated self-wrappers pp. [8], illustrations,
Ref: 1000

Vassilieff Danilaview full entry

Reference: A memorial exhibition of the paintings and sculpture of Danila Vassilieff. catalogue of works. Includes tributes to the late artist from Arthur Boyd, Albert Tucker, Joy Hester, Ian Sime, Charles Blackman et al.
Publishing details: Museum of Modern Art of Australia, 1959. Quarto, illustrated wrappers, pp. [8];
Ref: 1000

Boyd Arthurview full entry

Reference: Arthur Boyd : retrospective exhibition of paintings 1936-62. With essay by Geoffrey Dutton.
Publishing details: Museum of Modern Art and Design of Australia, 1964. Quarto, illustrated wrappers (slightly creased), pp. 4,
Ref: 1000

photographyview full entry

Reference: Images of Australian men : photographs from the Monash Gallery of Art collection, by Jane Scott
Catalogue essay by Peter Timms. Includes illustrations of photographs by Olive Cotton, David Moore, Bill Henson, Wolfgang Sievers, Roger Scott, Jeff Carter, Matthew Sleeth, and Axel Poignant. [to be indexed]
Publishing details: Melbourne : Monash Gallery of Art, 2002. Quarto, illustrated wrappers, pp. [12], illustrated, exhibition checklist. Printed in an edition of 1500 copies.
Ref: 1000

Day Anthonyview full entry

Reference: Anthony Day. The artist’s first solo exhibition, at the age of 21.
Publishing details: Melbourne : Delshan Art Gallery, 2006. Oblong octavo, illustrated wrappers, pp. [12], illustrated.
Ref: 1000

Leach Samview full entry

Reference: Sam Leach

Publishing details: Adelaide : Peter Walker Fine Art, circa 2010. Gallery flyer, tri-fold, illustrated, text by David Hansen. Promotional flyer for the artist.
Ref: 1000

Johnson Kenview full entry

Reference: Ken Johnson : life and landscape
A selection of works from the exhibition.
Publishing details: Sydney : Christopher Day Gallery, [2000]. Quarto, exhibition catalogue, pp. [8], illustrated in colour.
Ref: 1000

Churcher Peterview full entry

Reference: Peter Churcher. The hunt, sacrifices and other rituals, text by John McDonald.
Publishing details: Melbourne : Australian Galleries, 2006. Quarto, illustrated wrappers, pp. 24, illustrated, one folding plate,
Ref: 1000

Crawford Marianview full entry

Reference: Increments. Published by the artist in an edition of 5 initialled and numbered copies. ‘Increments’ registers small changes, and raises questions about declamatory opinions.
Publishing details: [Melbourne : the artist], 2020. Artist’s book (130 x 355 mm). Oblong folio, letterpress gatefold wrappers, pp. [44], printed letterpress and relief on Magnani Incisioni.
Ref: 1000

Tjapaltjarri, Clifford Possumview full entry

Reference: Warlugulong, 1976. Tim Leura Tjapaltjarri, Clifford Possum Tjapaltjarri. By Hetti Perkins, et al.
Publishing details: Sydney : Art Gallery of New South Wales, 1999. Quarto, illustrated wrappers, pp. [14], illustrated. Exhibition catalogue relating to two major paintings of Anmatyerre versions of the Warlugulong bushfire story; includes diagrammatical explanations of the symbolism used in the paintings.

Miklouho-Maclay Nicholas (1846-1888)view full entry

Reference: see Hordern House catalogue May, 2020:
Miklouho-Maclay, Nicholas (1846-1888).
Portrait of Koapena, Chief of the Aroma district, New Guinea...
Signed with initials, dated twice and extensively inscribed: 31\viii 81.Quapena/Luepada of Maupa/ District Aroma/South Coast/New Guinea. / “Carthona”/Sydney/23 Jan. 1885/’Momento” from New- Guinea- Commodore J. Erskine. R.N.-, pen and brown ink and pencil with coloured chalk; 34cm x 25 cm, mounted and framed. Sydney, 1885.
Miklouho-Maclay’s portrait of Koapena for Sir James Erskine
A superb portrait by the Russian scientist and artist Miklouho-Maclay, depicting the striking New Guinean man Koapena (or “Quapena”), a chief in the region of Hood Lagoon, south-east of Port Moresby.
The portrait, known in two different versions, of which this is the larger and more detailed, is thought to be the only depiction of Koapena ever made. As the detailed inscriptions in Miklouho- Maclay’s hand make clear, he presented it to the Commodore of the Australia Station, Sir James Erskine, just after the latter had returned from his visit to Port Moresby and the Hood Lagoon in November 1884, where he had 0proclaimed the British Protectorate, one of the most momentous events in the history of the close relationship between New Guinea and Australia.
Echoing the relationship between Australia and New Guinea, the personal relationship between Miklouho-Maclay and Erskine is a formidable combination of the Australia-based Russian explorer and ethnographer with the British commander. The presentation took place in Sydney, where Miklouho-Maclay’s extraordinary reputation and importance is honoured even today in, for example, the Miklouho-Maclay section within the Macleay Museum in the University of Sydney.
Koapena was a towering figure and made a lasting impression on all he met: the Australian jour- nalist Charles Lyne, who accompanied Erskine to New Guinea, spoke for most when he called Koapena “a great fighting chief, and one of the finest men we had seen” (Lyne, New Guinea, p. 114). More than that, Erskine interviewed Koapena at length while at anchor on board HMS Nel- son and personally presented the chief with an ebony baton in recognition of his authority.
Not only has Miklouho-Maclay rendered Koapena with great sensitivity, but the portrait has an important degree of scientific rigour, which means that he has included an accurate portrayal of the elaborate tattoos, most notably the blue crosses with which Koapena’s body was decorated. Charles Lyne noted that these crosses were representations of the number of people killed by Ko- apena in battle: “sixty-three were counted,” the journalist commented, “besides many other marks which represented the enemies killed by his tribe” (Lyne, New Guinea, p. 114).
Miklouho-Maclay
Nicholas Miklouho-Maclay (1846-1888) was an important Russian scientist and explorer. He had a long association with New Guinea, having lived in the country for several years in the 1870s, and was one of the first Europeans to live among the people for any extended length of time. A student of the great German marine scientist Ernst Haeckel (himself author of one of the most remarkable biological studies of the age, the 1904 Kunstformen der Natur), Miklouho-Maclay first arrived in Sydney in 1878, where he would become closely associated with the Linnean Society and a tireless supporter of the work of Charles Darwin. It was during this period that he set up his Marine Biological Station at Camp Cove, at the head of Sydney Harbour.
There is more than a hint of Rasputin in the surviving photographs of Miklouho-Maclay, a dark and brooding melancholy, recently summed up as the look of a man who was “young, handsome,
idealistic and full of disturbing contradictions” (ABC, Radio National). Indeed, one is irresistibly reminded of some of the earlier continental-educated scientists who established temporary homes in Sydney and captured the imagination of colonial society, men such as Strzelecki or Leichhardt.
In 1884 he married Margaret-Emma, the widowed daughter of the Premier of New South Wales, Sir John Robertson, very much against his wishes (to say that Robertson was not enthusiastic about the match would be an understatement: he is rumoured to have announced his intention of throwing her Russian fiancé off the Gap...). Miklouho-Maclay’s work took him back to Russia for an extended visit in 1886, where he began to cement his reputation, even corresponding with Leo Tolstoy, but his health was deteriorating, and he died from a brain tumour while visiting St. Petersburg in 1888, leaving many of his ambitions only partially realized.
Given his background, it is little surprise that Miklouho-Maclay was a staunch supporter of the rights of the people of New Guinea at a time when this was becoming a pressing issue – the Ger- man Empire had established a protectorate on the northern coast in 1884, and the British under Commodore Erskine would make their own claims for the south coast later the same year. Only with the outbreak of the First World War, when an Australian naval force occupied German New Guinea, did Australia take the penultimate step towards administering all of New Guinea as a Territory, a role they took on until independence in 1975.
New Guinea
The present sketch is testament to Miklouho-Maclay’s abiding interest in the people of New Guinea because, as his inscription confirms, it is based on a visit he made to the Hood Lagoon in August 1881. It was a time of great unrest in New Guinea, as the sometimes fractious relations between colonial settlers – chiefly missionaries and traders – and the local tribes flared into oc- casional conflict. Without doubt the most significant unrest occurred at Kalo, a nearby village and the site of a London Missionary Society outpost which was raided in March 1881, resulting in the death of 12 men, women and children.
Miklouho-Maclay was in Sydney when news of the events at Kalo began to filter through, and fearing that a punitive raid was being meditated in retaliation, got permission to sail on HMS Wolverene (Commodore Wilson) as a sort of de facto intermediary. His role seems to have been rather equivocal, especially given his involvement as a an advisor to a clumsy raid on Kalo that resulted in the deaths of four New Guinean men, but it was adjudged a great success by most of those who took part (Webster, The Moon Man, pp. 249-252). As his portrait of Koapena makes clear, Miklouho-Maclay must have met the chief while he was making his investigations into the Kalo massacre.
Koapena
That Miklouho-Maclay and his colleagues on board the Wolverene would have been introduced to Koapena comes as no surprise, because the chief was already a well-known figure by 1881. One of the most striking accounts of him was published in an earlier report by an Australian-appointed Police Magistrate called Henry M. Chester. Sent to investigate some reports of unrest in New Guinea, Chester singled out Koapena as having been responsible for directing a July 1878 attack against some rogue sailors from the Annie, a schooner that traded along the coast. Even so, as Chester’s account makes abundantly clear, there is no doubt that Koapena was an arresting and charismatic figure: Chester was clearly not immune to Koapena’s charms, retelling a rather mag- nificent story of travelling with him on a visit to one of the more remote villages, the whole time anxious about the possibility of another attack. Koapena “was chewing betel at the time,” wrote Chester, “but stopped, and looking fixedly at us for some moments, said, ‘What land will give you trouble? Am I not with you?’ and brought his chunam spoon down with tremendous energy on the gourd” (Chester, Narrative, pp. 22-24).
Sir James Erskine
Quite apart from its great importance in terms of the history of New Guinea, the portrait there- fore also brings together two of the more intriguing figures of Victorian Sydney, the Russian scientist and artist Miklouho-Maclay, and the then serving Commodore of the Australia Station, Sir James Erskine RN (1838-1911). On paper the two men may seem an unusual pairing, but they both had a decisive influence on the creation of the British settlement of New Guinea and they shared a fervent belief in the need to protect the rights of indigenous peoples. Indeed, Erskine’s speech at the ceremony to declare the protectorate in New Guinea “has been considered ever since as a declaration of rights for the indigenous people” (ADB). The two men were certainly known to each other, because Erskine is mentioned several times in the diaries of Miklouho-Maclay, since published as Travels to New Guinea.
A great many details regarding the history of the portrait can be made out because of a number of overlapping annotations in Miklouho-Maclay’s own hand, which can be deciphered with a little care. The reference to August 1881 quite clearly relates to his visit to New Guinea, while there is also a reference to him presenting the portrait to Commodore Erskine on 23 January 1885. Given this date, the note reading “Carthona” would therefore relate to the grand Gothic-revival house built on Darling Point in 1841 for the explorer Sir Thomas Mitchell. In the 1880s it was owned by the solicitor Arthur Mansfield Allen, but he was offering it to be let fully furnished in June 1884, and Erskine is known to have been resident there soon after.
HMS Nelson
A further clue to the background of the portrait is vouchsafed in what is doubtless the most fa- mous account of Erskine’s expedition, the grand-folio photographic album published in Sydney in 1885, Narrative of the Expedition of the Australian Squadron to the South-East Coast of New Guinea. Testament to the importance of the Hood Lagoon in British and Australian ambitions, this ex- travagant work includes six depictions of the region (effectively a sixth of the finished work).
Most significant of all, the Narrative of the Expedition includes a remarkable photograph of the scene on board HMS Nelson as Erskine addressed some of the assembled elders (‘Commodore ad- dressing Chiefs on board HMS Nelson, Hood Bay’). Koapena is the figure sitting cross-legged in the middle of the shot and grasping the ebony staff presented to him by Erskine (see above) as “an emblem of authority in the form of an ebony stick with a florin let in at the top, the Queen’s Head being uppermost, and encircled by a band of silver” (Lyne, New Guinea, pp. 13, 114-118).
Lindt offers a sympathetic and atmospheric account of Koapena aboard the ship in Picturesque New Guinea:
“Our guest Koapena, the chief of the Aroma District, although past the prime of life, is a fine stalwart man over six feet high, and decidedly the finest specimen of savage humanity we have seen in New Guinea. He stoops slightly with age, but his bearing is full of grace and dignity, and altogether he looks like a person to select rather for a friend than a foe. He is in full native dress, i.e., waist string, plaited armlets, and head-scratcher, or five-toothed comb. His luggage consists of a little netted shoulder-bag or knapsack, containing a lime gourd, a stick of betel pepper and
a few areca nuts, the combination of which articles constitutes his favourite chew. The steward served him dinner in the saloon as soon as ours, which we now almost invariably take on the quarter-deck, was over. Amongst other things he was given some tinned asparagus, a vegetable which he certainly had never seen before. His appetite was wonderful, and he ate enough baked yams and pork to satisfy three ordinary people. The result of this late and heavy meal was that he could not sleep, notwithstanding the soft cushions provided for him in the aft part of the saloon, and I was witness to a midnight conversation equally quaint and ludicrous between this gigantic naked savage and Mr. Fort, the General’s secretary, who often prefers to do his work in the cool
of the night. The former plying his little chunan stick from his lime calabash to his mouth, and now and then taking a chip of betel, by way of variety, watched with curiosity the busy pen of the Secretary seated opposite, writing by the light of three candles, in addition to the saloon lamp. Scarcely a word was spoken, and certainly none were exchanged, the chief contenting himself with smiling and nodding in reply to the Secretary’s whispers and dumb show. This nocturnal interview between an Oxford B.A. and a native prince is surely without precedent. I greatly regretted that the time and place afforded insuperable obstacles to my taking a picture of it. The warrior chief,
in addition to his other embellishments, had more than thirty crosses tattooed on his breast and back, each of which indicates a life violently taken.” (Lindt, p. 73)
Chris Ballard (ANU) writes “the Kalo events of 1881 were (inevitably) complex, but the more im- portant context for this work is Maclay’s reworking (and repurposing) of the image for Erskine. I strongly suspect he produced the image during January 1881, immediately prior to the inscription and presentation, as part of his perennial campaign to secure both patronage and support from influential figures. As I mentioned previously, in producing the Erskine painting, he elaborates on the original sketch, adding tattoos to Koapena’s upper arm and shoulder blade (see detail, left); intriguingly, he uses a female pudendum tattoo as the source for the upper arm tattoo, something which would have been unthinkable within the Hood Bay community - artistic license or a private joke?”
Presentation
Taken together, this provides a convincing account of how Miklouho-Maclay came to present the portrait to Erskine: the Commodore was newly returned from his important voyage, where he had made the personal acquaintance of one of the greatest chiefs, Koapena. Back in Sydney, Erskine received the news of his promotion to Rear Admiral and also the news that he was being suc- ceeded by Commodore George Tryon. He immediately began the process of tidying up his affairs and making his farewells, hosting a “Goodbye at Home” event at Carthona on 24 January 1885 (see The Australasian, 31 January 1885). Miklouho-Maclay, who had petitioned the Commodore personally regarding New Guinea, and who would have agreed in broad outline with the steps Erskine had taken, must have decided to present him with a farewell gift which spoke to their mutual interest in New Guinea, and indeed to their shared history, and therefore gave him this portrait of their mutual acquaintance, the warrior-chief Koapena. It was a magnificent gift, and appears to have been treasured by Erskine, remaining in his family for several decades: its redis- covery is an event to be celebrated.
Provenance:
The portrait was executed by Miklouho-Maclay before 1885 (and perhaps as early as 1881), before being personally presented to Commodore Erskine in January 1885 as a “Momento”.
The sketch is a more fully-rendered and much larger version of another associated with the col- lection of the Russian Geographical Society in St Petersburg. Although quite a large number
of Miklouho-Maclay’s papers, diaries and correspondence are extant, it is known that many of his more private journals are lost, at least some destroyed by his wife after his death in 1888. We know of no manuscripts by him that have been sold and more importantly, of no examples of his ethnographic art.References:
[Australia Squadron], Narrative of the Expedition of the Australian Squadron to the South-East Coast of New Guinea (Sydney: Thomas Richards, 1885)
Rev. James Chalmers, ‘Annexation of New Guinea,’ Australian Town and Country Journal, 26 July 1884
Henry M. Chester. Narrative of Expeditions to New Guinea, in a series of letters (Brisbane: James C. Beal, 1878)
Bronwen Douglas & Chris Ballard. Foreign Bodies: Oceania and the Science of Race 1750-1940 (Canberra: ANU Press, 2008), esp. chapter 3, ‘“Oceanic Negroes”: British anthropology of
Papuans, 1820-1869’
Edward Payson Evans. ‘Semon’s Scientific Researches in Australia,’ Popular Science Monthly (November 1897).
J.W. Lindt, Picturesque New Guinea (London: Longmans, 1887)
Charles Lyne. New Guinea. An Account of the Establishment of the British Protectorate over the southern shores of
New Guinea (London: Sampson Low, Marston, Searle & Rivington, 1885)
Nikolai Miklouho-Maclay. Travels to New Guinea (Moscow & London: Central Press, 1982)
Elsie May Webster. The Moon Man: A Biography of Nikolai Miklouho-Maclay (Los Angeles: University of California Press, 1984)
Websites:
ADB; ODNB; Trove; Watsons Bay Association.

Erskine Sir Jamesview full entry

Reference: see Hordern House catalogue May, 2020:
Miklouho-Maclay, Nicholas (1846-1888).
Portrait of Koapena, Chief of the Aroma district, New Guinea...
Signed with initials, dated twice and extensively inscribed: 31\viii 81.Quapena/Luepada of Maupa/ District Aroma/South Coast/New Guinea. / “Carthona”/Sydney/23 Jan. 1885/’Momento” from New- Guinea- Commodore J. Erskine. R.N.-, pen and brown ink and pencil with coloured chalk; 34cm x 25 cm, mounted and framed. Sydney, 1885.
Miklouho-Maclay’s portrait of Koapena for Sir James Erskine
A superb portrait by the Russian scientist and artist Miklouho-Maclay, depicting the striking New Guinean man Koapena (or “Quapena”), a chief in the region of Hood Lagoon, south-east of Port Moresby.
The portrait, known in two different versions, of which this is the larger and more detailed, is thought to be the only depiction of Koapena ever made. As the detailed inscriptions in Miklouho- Maclay’s hand make clear, he presented it to the Commodore of the Australia Station, Sir James Erskine, just after the latter had returned from his visit to Port Moresby and the Hood Lagoon in November 1884, where he had 0proclaimed the British Protectorate, one of the most momentous events in the history of the close relationship between New Guinea and Australia.
Echoing the relationship between Australia and New Guinea, the personal relationship between Miklouho-Maclay and Erskine is a formidable combination of the Australia-based Russian explorer and ethnographer with the British commander. The presentation took place in Sydney, where Miklouho-Maclay’s extraordinary reputation and importance is honoured even today in, for example, the Miklouho-Maclay section within the Macleay Museum in the University of Sydney.
Koapena was a towering figure and made a lasting impression on all he met: the Australian jour- nalist Charles Lyne, who accompanied Erskine to New Guinea, spoke for most when he called Koapena “a great fighting chief, and one of the finest men we had seen” (Lyne, New Guinea, p. 114). More than that, Erskine interviewed Koapena at length while at anchor on board HMS Nel- son and personally presented the chief with an ebony baton in recognition of his authority.
Not only has Miklouho-Maclay rendered Koapena with great sensitivity, but the portrait has an important degree of scientific rigour, which means that he has included an accurate portrayal of the elaborate tattoos, most notably the blue crosses with which Koapena’s body was decorated. Charles Lyne noted that these crosses were representations of the number of people killed by Ko- apena in battle: “sixty-three were counted,” the journalist commented, “besides many other marks which represented the enemies killed by his tribe” (Lyne, New Guinea, p. 114).
Miklouho-Maclay
Nicholas Miklouho-Maclay (1846-1888) was an important Russian scientist and explorer. He had a long association with New Guinea, having lived in the country for several years in the 1870s, and was one of the first Europeans to live among the people for any extended length of time. A student of the great German marine scientist Ernst Haeckel (himself author of one of the most remarkable biological studies of the age, the 1904 Kunstformen der Natur), Miklouho-Maclay first arrived in Sydney in 1878, where he would become closely associated with the Linnean Society and a tireless supporter of the work of Charles Darwin. It was during this period that he set up his Marine Biological Station at Camp Cove, at the head of Sydney Harbour.
There is more than a hint of Rasputin in the surviving photographs of Miklouho-Maclay, a dark and brooding melancholy, recently summed up as the look of a man who was “young, handsome,
idealistic and full of disturbing contradictions” (ABC, Radio National). Indeed, one is irresistibly reminded of some of the earlier continental-educated scientists who established temporary homes in Sydney and captured the imagination of colonial society, men such as Strzelecki or Leichhardt.
In 1884 he married Margaret-Emma, the widowed daughter of the Premier of New South Wales, Sir John Robertson, very much against his wishes (to say that Robertson was not enthusiastic about the match would be an understatement: he is rumoured to have announced his intention of throwing her Russian fiancé off the Gap...). Miklouho-Maclay’s work took him back to Russia for an extended visit in 1886, where he began to cement his reputation, even corresponding with Leo Tolstoy, but his health was deteriorating, and he died from a brain tumour while visiting St. Petersburg in 1888, leaving many of his ambitions only partially realized.
Given his background, it is little surprise that Miklouho-Maclay was a staunch supporter of the rights of the people of New Guinea at a time when this was becoming a pressing issue – the Ger- man Empire had established a protectorate on the northern coast in 1884, and the British under Commodore Erskine would make their own claims for the south coast later the same year. Only with the outbreak of the First World War, when an Australian naval force occupied German New Guinea, did Australia take the penultimate step towards administering all of New Guinea as a Territory, a role they took on until independence in 1975.
New Guinea
The present sketch is testament to Miklouho-Maclay’s abiding interest in the people of New Guinea because, as his inscription confirms, it is based on a visit he made to the Hood Lagoon in August 1881. It was a time of great unrest in New Guinea, as the sometimes fractious relations between colonial settlers – chiefly missionaries and traders – and the local tribes flared into oc- casional conflict. Without doubt the most significant unrest occurred at Kalo, a nearby village and the site of a London Missionary Society outpost which was raided in March 1881, resulting in the death of 12 men, women and children.
Miklouho-Maclay was in Sydney when news of the events at Kalo began to filter through, and fearing that a punitive raid was being meditated in retaliation, got permission to sail on HMS Wolverene (Commodore Wilson) as a sort of de facto intermediary. His role seems to have been rather equivocal, especially given his involvement as a an advisor to a clumsy raid on Kalo that resulted in the deaths of four New Guinean men, but it was adjudged a great success by most of those who took part (Webster, The Moon Man, pp. 249-252). As his portrait of Koapena makes clear, Miklouho-Maclay must have met the chief while he was making his investigations into the Kalo massacre.
Koapena
That Miklouho-Maclay and his colleagues on board the Wolverene would have been introduced to Koapena comes as no surprise, because the chief was already a well-known figure by 1881. One of the most striking accounts of him was published in an earlier report by an Australian-appointed Police Magistrate called Henry M. Chester. Sent to investigate some reports of unrest in New Guinea, Chester singled out Koapena as having been responsible for directing a July 1878 attack against some rogue sailors from the Annie, a schooner that traded along the coast. Even so, as Chester’s account makes abundantly clear, there is no doubt that Koapena was an arresting and charismatic figure: Chester was clearly not immune to Koapena’s charms, retelling a rather mag- nificent story of travelling with him on a visit to one of the more remote villages, the whole time anxious about the possibility of another attack. Koapena “was chewing betel at the time,” wrote Chester, “but stopped, and looking fixedly at us for some moments, said, ‘What land will give you trouble? Am I not with you?’ and brought his chunam spoon down with tremendous energy on the gourd” (Chester, Narrative, pp. 22-24).
Sir James Erskine
Quite apart from its great importance in terms of the history of New Guinea, the portrait there- fore also brings together two of the more intriguing figures of Victorian Sydney, the Russian scientist and artist Miklouho-Maclay, and the then serving Commodore of the Australia Station, Sir James Erskine RN (1838-1911). On paper the two men may seem an unusual pairing, but they both had a decisive influence on the creation of the British settlement of New Guinea and they shared a fervent belief in the need to protect the rights of indigenous peoples. Indeed, Erskine’s speech at the ceremony to declare the protectorate in New Guinea “has been considered ever since as a declaration of rights for the indigenous people” (ADB). The two men were certainly known to each other, because Erskine is mentioned several times in the diaries of Miklouho-Maclay, since published as Travels to New Guinea.
A great many details regarding the history of the portrait can be made out because of a number of overlapping annotations in Miklouho-Maclay’s own hand, which can be deciphered with a little care. The reference to August 1881 quite clearly relates to his visit to New Guinea, while there is also a reference to him presenting the portrait to Commodore Erskine on 23 January 1885. Given this date, the note reading “Carthona” would therefore relate to the grand Gothic-revival house built on Darling Point in 1841 for the explorer Sir Thomas Mitchell. In the 1880s it was owned by the solicitor Arthur Mansfield Allen, but he was offering it to be let fully furnished in June 1884, and Erskine is known to have been resident there soon after.
HMS Nelson
A further clue to the background of the portrait is vouchsafed in what is doubtless the most fa- mous account of Erskine’s expedition, the grand-folio photographic album published in Sydney in 1885, Narrative of the Expedition of the Australian Squadron to the South-East Coast of New Guinea. Testament to the importance of the Hood Lagoon in British and Australian ambitions, this ex- travagant work includes six depictions of the region (effectively a sixth of the finished work).
Most significant of all, the Narrative of the Expedition includes a remarkable photograph of the scene on board HMS Nelson as Erskine addressed some of the assembled elders (‘Commodore ad- dressing Chiefs on board HMS Nelson, Hood Bay’). Koapena is the figure sitting cross-legged in the middle of the shot and grasping the ebony staff presented to him by Erskine (see above) as “an emblem of authority in the form of an ebony stick with a florin let in at the top, the Queen’s Head being uppermost, and encircled by a band of silver” (Lyne, New Guinea, pp. 13, 114-118).
Lindt offers a sympathetic and atmospheric account of Koapena aboard the ship in Picturesque New Guinea:
“Our guest Koapena, the chief of the Aroma District, although past the prime of life, is a fine stalwart man over six feet high, and decidedly the finest specimen of savage humanity we have seen in New Guinea. He stoops slightly with age, but his bearing is full of grace and dignity, and altogether he looks like a person to select rather for a friend than a foe. He is in full native dress, i.e., waist string, plaited armlets, and head-scratcher, or five-toothed comb. His luggage consists of a little netted shoulder-bag or knapsack, containing a lime gourd, a stick of betel pepper and
a few areca nuts, the combination of which articles constitutes his favourite chew. The steward served him dinner in the saloon as soon as ours, which we now almost invariably take on the quarter-deck, was over. Amongst other things he was given some tinned asparagus, a vegetable which he certainly had never seen before. His appetite was wonderful, and he ate enough baked yams and pork to satisfy three ordinary people. The result of this late and heavy meal was that he could not sleep, notwithstanding the soft cushions provided for him in the aft part of the saloon, and I was witness to a midnight conversation equally quaint and ludicrous between this gigantic naked savage and Mr. Fort, the General’s secretary, who often prefers to do his work in the cool
of the night. The former plying his little chunan stick from his lime calabash to his mouth, and now and then taking a chip of betel, by way of variety, watched with curiosity the busy pen of the Secretary seated opposite, writing by the light of three candles, in addition to the saloon lamp. Scarcely a word was spoken, and certainly none were exchanged, the chief contenting himself with smiling and nodding in reply to the Secretary’s whispers and dumb show. This nocturnal interview between an Oxford B.A. and a native prince is surely without precedent. I greatly regretted that the time and place afforded insuperable obstacles to my taking a picture of it. The warrior chief,
in addition to his other embellishments, had more than thirty crosses tattooed on his breast and back, each of which indicates a life violently taken.” (Lindt, p. 73)
Chris Ballard (ANU) writes “the Kalo events of 1881 were (inevitably) complex, but the more im- portant context for this work is Maclay’s reworking (and repurposing) of the image for Erskine. I strongly suspect he produced the image during January 1881, immediately prior to the inscription and presentation, as part of his perennial campaign to secure both patronage and support from influential figures. As I mentioned previously, in producing the Erskine painting, he elaborates on the original sketch, adding tattoos to Koapena’s upper arm and shoulder blade (see detail, left); intriguingly, he uses a female pudendum tattoo as the source for the upper arm tattoo, something which would have been unthinkable within the Hood Bay community - artistic license or a private joke?”
Presentation
Taken together, this provides a convincing account of how Miklouho-Maclay came to present the portrait to Erskine: the Commodore was newly returned from his important voyage, where he had made the personal acquaintance of one of the greatest chiefs, Koapena. Back in Sydney, Erskine received the news of his promotion to Rear Admiral and also the news that he was being suc- ceeded by Commodore George Tryon. He immediately began the process of tidying up his affairs and making his farewells, hosting a “Goodbye at Home” event at Carthona on 24 January 1885 (see The Australasian, 31 January 1885). Miklouho-Maclay, who had petitioned the Commodore personally regarding New Guinea, and who would have agreed in broad outline with the steps Erskine had taken, must have decided to present him with a farewell gift which spoke to their mutual interest in New Guinea, and indeed to their shared history, and therefore gave him this portrait of their mutual acquaintance, the warrior-chief Koapena. It was a magnificent gift, and appears to have been treasured by Erskine, remaining in his family for several decades: its redis- covery is an event to be celebrated.
Provenance:
The portrait was executed by Miklouho-Maclay before 1885 (and perhaps as early as 1881), before being personally presented to Commodore Erskine in January 1885 as a “Momento”.
The sketch is a more fully-rendered and much larger version of another associated with the col- lection of the Russian Geographical Society in St Petersburg. Although quite a large number
of Miklouho-Maclay’s papers, diaries and correspondence are extant, it is known that many of his more private journals are lost, at least some destroyed by his wife after his death in 1888. We know of no manuscripts by him that have been sold and more importantly, of no examples of his ethnographic art.References:
[Australia Squadron], Narrative of the Expedition of the Australian Squadron to the South-East Coast of New Guinea (Sydney: Thomas Richards, 1885)
Rev. James Chalmers, ‘Annexation of New Guinea,’ Australian Town and Country Journal, 26 July 1884
Henry M. Chester. Narrative of Expeditions to New Guinea, in a series of letters (Brisbane: James C. Beal, 1878)
Bronwen Douglas & Chris Ballard. Foreign Bodies: Oceania and the Science of Race 1750-1940 (Canberra: ANU Press, 2008), esp. chapter 3, ‘“Oceanic Negroes”: British anthropology of
Papuans, 1820-1869’
Edward Payson Evans. ‘Semon’s Scientific Researches in Australia,’ Popular Science Monthly (November 1897).
J.W. Lindt, Picturesque New Guinea (London: Longmans, 1887)
Charles Lyne. New Guinea. An Account of the Establishment of the British Protectorate over the southern shores of
New Guinea (London: Sampson Low, Marston, Searle & Rivington, 1885)
Nikolai Miklouho-Maclay. Travels to New Guinea (Moscow & London: Central Press, 1982)
Elsie May Webster. The Moon Man: A Biography of Nikolai Miklouho-Maclay (Los Angeles: University of California Press, 1984)
Websites:
ADB; ODNB; Trove; Watsons Bay Association.

Van Oort and Van Raaltenview full entry

Reference: see Hordern House catalogue May, 2020:
EARL, George Windsor.
The Native Races of the Indian Archipelago.
Octavo, with five plates (four coloured) and two folding maps; half morocco. London, Hippolyte Bail- liere, 1853.
nortHern AustrAliA And neW guineA
Important anthropological observations on the natives of New Guinea, but also on the North Australian Aborigines: chapter XII is devoted to Melville Island, Port Essing-
ton and North Australia in general, and one of the folding plates gives anthropometric comparisons between North Australian Aborigines and New Guinea natives. There are numerous discussions of Australian Aborigines elsewhere in the text, particularly those of Melville Island and Port Essington.
The fine full-page handcoloured lithographs, produced in London, were based on draw- ings done on the spot by the Dutch artists Van Oort and Van Raalten.
This is the first edition, separate issue (another version had the series-title “Ethnographi- cal Library” which here only appears as an imprint on the plates). This copy is from the library of Archibald Liversidge, Professor of Mineralogy at the University of Sydney, and author of a number of important Australian works on the subject. [from Hordern House catalogue May, 2020:]

Van Raalten and Van Oort view full entry

Reference: see Hordern House catalogue May, 2020:
EARL, George Windsor.
The Native Races of the Indian Archipelago.
Octavo, with five plates (four coloured) and two folding maps; half morocco. London, Hippolyte Bail- liere, 1853.
nortHern AustrAliA And neW guineA
Important anthropological observations on the natives of New Guinea, but also on the North Australian Aborigines: chapter XII is devoted to Melville Island, Port Essing-
ton and North Australia in general, and one of the folding plates gives anthropometric comparisons between North Australian Aborigines and New Guinea natives. There are numerous discussions of Australian Aborigines elsewhere in the text, particularly those of Melville Island and Port Essington.
The fine full-page handcoloured lithographs, produced in London, were based on draw- ings done on the spot by the Dutch artists Van Oort and Van Raalten.
This is the first edition, separate issue (another version had the series-title “Ethnographi- cal Library” which here only appears as an imprint on the plates). This copy is from the library of Archibald Liversidge, Professor of Mineralogy at the University of Sydney, and author of a number of important Australian works on the subject. [from Hordern House catalogue May, 2020:]

Lindt J Wview full entry

Reference: Picturesque New Guinea... by J. W. Lindt.
[’Probably the most outstanding example of expedition photography undertaken in the Southern Hemisphere. This is an unusually good copy of this scarce book, more often seen in poor condition or in later binding, or both.
Lindt, an accomplished professional photographer, accompanied the expedition that established Sir Peter Scratchley as the first British administrator of Papua New Guinea. Lindt’s photographs are beautifully reproduced in this volume by the autotype process, probably still the most effective process for the mechanical reproduction of photographic images. The text of Lindt’s volume includes his detailed account of the expedition and other material on Papua and the native population, including a section by G.S. Fort. From an ethnographic perspective, this book is a lasting visual record of coastal Papuan cul- tures now irrevocably changed. Longhouses, tree-houses and native sailing craft are all amply illustrated.’ [from Hordern House catalogue May, 2020:]
Publishing details: Octavo, autotype photographic plates; original gilt decorated cloth, recased with new endpapers; slip- case. London, Longman’s, Green, and Company, 1887.
coAstAl cultures of neW guineA

Ref: 1000

MacDonald J Dview full entry

Reference: see Hordern House catalogue May, 2020:
31. MACDONALD, J.D.
“Vah-ta-ah, the Feejeean Princess”.
Oval portrait Baxter print in the original timber frame, 145 x 125 mm., modern labels pasted to back. [England], no date but 1857.
from vAH-tA-AH to lydiA
A most attractive Baxter print of a “Feejean Princess”. This image was included as the frontispiece to a book on Fiji by the Reverend Joseph Waterhouse, but prints made by the famous Baxter process were often sold separately as well, and this example, in its original frame, was probably always destined for display.
A printed caption (perhaps a museum display caption) now fixed to the back reads: “This is an illustration from Waterhouse’s book Vah-ta-ah. This primitive native was a cruel
and vicious cannibal but later was baptised and re-christened ‘Lydia’. The wording on the print reads: ‘From a miniature by J.D. MacDonald of H.M.S. Herald. Printed in Oil Colours by Baxter, Inventor, Patentee, London’.” HMS Herald was an important survey vessel on the Pacific station, which undertook major survey work in the region in the 1850s under the command of Henry Mangles Denham. The artist, John Denis Macdonald, served on the Herald as assistant surgeon, and became a famous zoologist and member of the Royal Society.

Marcet Édouardview full entry

Reference: see Hordern House catalogue May, 2020:
MARCET, Édouard.
Australie. Un voyage a travers le bush.
Octavo, illustrated with 20 original albumen prints of drawings (10 full-page, mounted on inserted leaves of heavy paper as plates, and 10 smaller, mounted on the text leaves in spaces left for that purpose); a fine copy in a contemporary-style French binding of quarter morocco gilt by Laurenchet. Geneva, Imprimerie de Jules-Guillaume Fick, 1868.
WitH ActuAl pHotogrApHs: An eArly exAmple of A scArce genre
A rare book illustrated with original photographs: vividly dramatised account of life in the Queensland bush by a Swiss settler and writer. The unusual illustrations are actually
a series of mounted photographs of drawings. Though this is an early example of the unusual genre of books illustrated with actual photographs it escaped notice by Robert Holden in “Photography in Colonial Australia”, which may be taken as an indication of its rarity: only 200 copies are known to have been printed. A Swedish translation followed in 1870.
Marcet travelled through Australia in the early 1860s as a representative of the Geo- graphical Society of Geneva, and is particularly known for his assiduous collection of photographs of settler and aboriginal life. In 1861 he published his Notice sur la province de Queensland, which included his observations on the natural history, the settlement, and the local tribes of the area. This work extends upon this earlier research, adding to his descriptions of Queensland’s natural history, including the platypus, which is shown in two illustrations.
The book’s real importance lies in Marcet’s unflinching portrayal of the tensions between settlers and aborigines. The arresting illustrations include several images of open conflict, as well as one dreadful representation of aboriginal men being hunted over a cliff while the women and children of the tribe look on.

Oliver Commander Richard Aldworth view full entry

Reference: see Hordern House catalogue May, 2020:
A Series of Lithographic Drawings, from Sketches in New Zealand...
Large folio, 4 pp. (title and text) and nine images on eight coloured lithograph plates; original printed wrapper with red cloth backstrip, preserved in a solander case. London, Dickinson Brothers, circa 1852.
tHe rAre coloured issue, WitH originAl WrAppers
One of the finest Pacific illustrated books of the nineteenth century. This is a beautiful copy of the rare coloured issue, complete in the original illustrated wrappers. The superb handcoloured lithographs are by the naval commander Richard Aldworth Oliver. Oliver (1811-1889) commanded the HMS Fly on survey voyages of New Zealand and Pacific waters between 1847 and 1851, including acting as escort to Selwyn’s schooner Undine
to New Caledonia and the New Hebrides in 1849. It was during these voyages that he observed the Maori people first-hand and recorded the New Zealand and New Caledo- nian landscape for this publication. Various Maori and Pacific island artefacts collected by Oliver during his travels have recently appeared for sale (Christie’s London 15 December 2016, lot 4).
The suite of views and portraits prepared by Oliver for the publication include “Chief Te Rangihaeta”, “A Korero”, “A Tangi (at Motoneka)”, “The Falls of Kirikiri”, “A Stranger’s House (Houraki Pah)”, “Half Castes of Pomare’s Pah (Bay of Islands)”, “Puebo (New Caledonia)” and portraits of two boys Harry Bluff and Johnny, who were ‘half-castes, probably the children of whalers’.
This was Oliver’s only printed work, apart from an image “Girls and Man of Uea, Loyalty Islands” contributed to Erkine’s Journal of a Cruise among the Islands of the Western Pacific (1853); a number of his watercolour views and portraits survive in New Zealand institu- tional collections, including two fine 1849 watercolours at Te Papa depicting “Neddie, a half-caste”and “Feast in the Bay of Islands”. Hocken and Bagnall date the book 1852, as does Abbey, while the BMC dates it 1853.

Scott Frank Edwin (American, 1863-1929) view full entry

Reference: see Bessie Gibson. University of QLD retrospective exhibition(touring University of Queensland Art Museum, Brisbane; then touring, Fremantle Arts Centre, Perth; Ewing and George Paton Galleries, University of Melbourne; Art Gallery of New South Wales, Sydney; Newcastle Region Art Gallery, New South Wales; Museum and Art Gallery, Northern Territory, 1978-79). Includes essay by Nancy Underhill and "An Appreciation" by Robert Haines. Lists 71 works with 6 black and white reproductions. Also includes a work by Frank Edwin Scott (American, 1863-1929)who influenced Gibson. This work was offered at auction The Grice Collection: paintings, icons, miniatures & prints
by Bonhams, Sydney, June 10, 2020:
Frank Edwin Scott (American, 1863-1929)
Place de la Concorde
signed lower right: 'EDWIN SCOTT'
oil on wood panel
34.0 x 40.0cm (13 3/8 x 15 3/4in).
For further information on this lot please visit the Bonhams website
Artist or Maker
Frank Edwin Scott (American, 1863-1929)
Provenance
EXHIBITED
Bessie Gibson, University of Queensland Art Museum, Brisbane; then touring, Fremantle Arts Centre, Perth; Ewing and George Paton Galleries, University of Melbourne; Art Gallery of New South Wales, Sydney; Newcastle Region Art Gallery, New South Wales; Museum and Art Gallery, Northern Territory, 1978-79, cat. 68 (label attached verso)

Publishing details: University of QLD, 1978, pb, 49pp [

designview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

advertisingview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

photography in the 1950sview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

fashion in the 1950sview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

dress in the 1950sview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

architecture in the 1950sview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

gardens in the 1950sview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

craft in the 1950sview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

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.

Andrews Gordonview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Annand Douglasview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Annan Fabricsview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Beck Richardview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Best Marion Hallview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Boyd familyview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Carter Jeffview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Clerehan Neil architectview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Collings Dahlview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Collings Geoffreyview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Cooper Carlview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Douglas Neilview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Douglas Mollieview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Dupain Maxview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Featherston Grantview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Lowen Fredview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Makeig Peter b1928view full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Meadmore Clementview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stevns Olga and Lykkeview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Forbes Maxview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Ford Gordonview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Grove Mollieview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Hughan Haroldview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

James Richard Haughton view full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Johnson R Wview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Jorgenson Justusview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Judge Dorothyview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

King Ingeview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Snelling Douglasview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Knoll Hansview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Krimper Schulimview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Lamotte Henrietteview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Lee Geoffreyview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Le Guay Laurenceview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Linton J W Rview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Levy Colview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Lord Margaretview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Lowe Allanview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Lutton Billview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Lynton Bettyview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

McDowell Lilian May Woodview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Mackenzie Alexandra Nanceview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

McIntyre Peterview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

MacMillan Edith and Bettyview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

McMeekin Ivanview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

McMinn Nevilleview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Mellor Oliveview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Mayo Eileenview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Missingham Halview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Mitchell Bennview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Montsalvatview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Moore Davidview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Morrison Alistairview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Morrison Heddaview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Muller Peterview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Nagel Elizabethview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Onus Billview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Outlaw Anneview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Papas Nicholasview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Pedersen Fritjofview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Perceval Johnview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Pigott Gwyn Hanssenview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Plate Carlview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Poignant Axelview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Preston Margaretview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Preston Regview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Primrose Pottery Shopview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Purves Tom and Anneview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Rie Lucieview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Risom Jensview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Rodeck Ernstview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Rodiquez Fabricsview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Rushforth Peterview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Schubert Benview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Scotter Sheilaview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Seidler Harryview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Selheim Gertview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Semler Erikaview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Shmith Atholview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Sievers Wolfgangview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Sorenson Paulview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Sparks Regview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stafford Paulaview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stanner W E Hview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Steichen Edwardview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stevens Johnview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stewart Ronview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stiebel Victorview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stones Ellisview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Strizic Markview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Stubbs H Dacreview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Sturt Workshopsview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Swaby A Jview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

textilesview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Thompson Rollandview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Turner Joyceview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Vandyke Brothers companyview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Vodicka Victorview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Wager Rhodaview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Walling Ednaview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Ward Frederickview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

White Richardview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Whiteman Lilianview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Wilson Glenview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Wilton Charlesview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Wynn Davidview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Wunderlich Limitedview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Ziegler Oswaldview full entry

Reference: see The Australian Dream - Design of the Fifties [This book has essays on Australian advertising, photography, fashion, interior design, architecture, gardens, crafts, government housing (for Aborigines and working-class people) and fashionability in the 1950s.]
Publishing details: Powerhouse Publishing Sydney 1993, pb, 120pp 48 Colour Illusts, With index.

Barringer Gwendoline l'Avence (1883-1960)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.
Gwendoline l'Avence Barringer (1883-1960)
1. Mount Keira , New South Wales 1933
W/C 43.1 x 57.2 AGSA
Reference: McCulloch (1968), Hanks (1982), Campbell (1989)
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Smith Grace Cossington (1892-1984)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.
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Boxall Arthur d'Auvergne (1895-1944)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.
Arthur d'Auvergne Boxall (1895-1944)
1. The Coast, Kiama, N.S.W. 1932
Oil 30.8 x 40.5 AGSA
Reference: McCulloch (1968), Hanks (1982), Campbell (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Barron Howard (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 BSc DipArchAdmin.
Howard Barron (1900- )
1. Afternoon, Kangaroo Valley
Oil 66.4 x 91.5 AGNSW
2. Study for `Afternoon, Kangaroo Valley ' 1933
Oil 24 x 40.2 AGNSW
3. Heat Haze, Kangaroo Valley 1936
Oil NERAM
Reference: McCulloch (1968), Germaine (1984), Edwards & Gowing (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Ashton James (1859-1935)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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Rees Lloyd Frederic (1895-1988)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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Esling Gordon (1897- )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.
Gordon Esling (1897- )
1. Evening on the Shoalhaven, Nowra, N.S.W. 1934
Oil 30.5 x 37.7 NERAM
2. South coast pastoral 1934
Oil 45.5 x 65 NERAM
3. The Roadside Barn, Nowra 1936
Oil 29 x 35 Sothebys 19/8/91
4. Cambewarra Foothills c1947
Oil Private. Illustrated Ure Smith (1947, p17).
5. The Shoalhaven River
Oil 19 x 29 Pickles 3/82
Reference: Craig (1982), McCulloch (1968), France (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Jackson James Randolph (1886-1975)view 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

Haefliger Paul (1914-1982)view 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

Woodward-Smith Sview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
S. Woodward-Smith
1. The South Coast , N.S.W. 1936
Oil 38.2 x 46 NERAM
2. Hills of the South Coast , N.S.W. 1936-38
P,I,Ws 34.2 x 45.6 QAG
3. The South Coast , NSW, 1940
Oil
4. Autumn, South Coast
W/C 25 x 35 Private. Illustrated Cammack 1975, p39
5. The Jetty - Morning at Narooma
Oil 25 x 30 Private. Illustrated Cammack, 1975, p65
6. Green Valley , Jamberoo, N.S.W.
Oil 26 x 30 Private. Illustrated Cammack, 1975, p69
Reference: Cammack (1975), France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Steuart Ronald Hewison (1898- )view 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

Vassilief Danila (1899-1958)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Danila Vassilief (1899-1958)
1. Woronora 1937
Oil 53.5 x 58.5 Private
2. Woronora Landscape 1937
Oil 51.5 x 57 AGNSW
3. Landscape at Woronora River 1937
Oil on board 61.1 x 65.5 AGNSW. Illustrated France , 1988
4. Landscape at Woronora River 1937
Oil on board 52.1 x 55.8 Bendigo
5. Woronora Bridge
Oil 50 x 55.5 Darwin
6. Woronora Landscape 1937
Oil 52.8 x 58 Melbourne University
Reference: McCulloch (1968), Moore (1982), France (1988), Edwards & Gowing (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Eldershaw John Roy (1892-1973)view 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

Hinder Frank (1906- )view 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

Clare Jview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
J. Clare
1. A Gully, Unandara, Illawarra, N.S.W.
Oil 74 x 44.5 Private. Illustrated Christies, October 1987. Possibly Trevor Clare, who worked as a book illustrator during the 1940s in Melbourne and Adelaide . Reference: Hanks (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Griffin Ambrose Sylvester (1912- )view 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

Kerr Alexander (1875-1950)view 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

Jones Charles Lloyd view 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

Jones Charles Lloyd see also JONES Charles Lloydview full entry

Reference: see also Jones Charles Lloyd

Medworth Frank (1892-1947)view 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

Missingham Hal (1906- )view 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

Preston Margaret (1883-1963)view 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

Kilgour Jack Noel (1900-1987)view 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

Dalgarno Roy Frederick Leslie (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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Annand Douglas (1903-1976)view 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

Bennett William Rubery (1893- )view 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

Hawkins Weaver (1893-1977)view 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

Hanke Henry Aloysius (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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Edgecombe Henry (1881-1954)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 Edgecombe (1881-1954)
1. South coast - Werri Beach from Mount Pleasant 1947
Oil 27.5 x 35.5 Private
2. Kiama c1940
W/C Manly
Reference: McCulloch (1968), France (1988).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Dundas Douglas (1900-1981)
view 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

Gallop Herbert Reginald (1890-1958)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Herbert Reginald Gallop (1890-1958)
1. Boat harbour, Gerringong 1947
Oil Private. Illustrated Ure Smith, 1947, p41
2. Gerringong Seascape
Oil 29.5 x 37 Lawson 6/76
3. Coastal Scene, Gerringong
Oil 30 x 37.5 Christies 3/77
4. The Drillers, Gerringong
Oil 36 x 43 AAA 5/78.
5. Kangaroo Valley
Etching 12.6 x 17.3 ML SSUIB/KANG/VII
6. Coolangatta Mountain
Oil 36.5 x 44.5 Joel’s 4/87
7. Burragorang Valley , NSW
Oil 46 x 60 AAA 9/77
8. Burragorang Farm
Oil 37 x 44 AAA 3/78
Reference: McCulloch (1968), Campbell (1989).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Langker Sir Erik (1898-1982)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Sir Erik Langker (1898-1982)
1. South Coast , Austinmer 1947
Oil Private. Illustrated Ure Smith, 1947, p37
2. Autumn Clouds, Lake Illawarra , NSW
Oil 61 x 76 Christies 7/77; LJ July 1980
3. Evening near Austinmer
Oil 38.2 x 46.1 Christopher Day 12/88
4. The South Coast from Stanwell Park
Oil 29 x 37 LJ 11/82
5. Road to the Valley - Kangaroo Valley
Oil 29 x 37 Pickles 12/82
6. South Coast Landscape
Oil 50 x 60 Lawsons 9/83
Reference: McCulloch (1968).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Long Leonard H (1911- )view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Leonard H. Long (1911- )
1. South Coast Bridge 1947
Oil Private. Illustrated Ure Smith, 1947, p34
2. Shoalhaven Sunset 1948
Oil 40 x 40.5 AAA 3/81
3. Among the Bloodwoods Nowra, NSW 1961
Oil 39.5 x 50 LJ 5/79
4. Shoalhaven River Nowra , New South Wales 1967
Oil 70 x 91 LJ 11/79
5. Farm sheds Nowra 1969
Oil 27 x 37.5 Pickles 3/79
6. Afternoon Light, Cambewarra Range 1970
Oil Private. Illustrated Long, 1970, b/w, p16.
7. Currawong Headland 1970
Oil Private. Illustrated Long, 1970, colour, p49.
8. Morning Light, Shoalhaven River
Oil Private. Illustrated Long, 1970, colour, p30.
9. The Shoalhaven River at Burrier
Oil Private. Illustrated Long, 1970, colour, p64.
10. Southern Coastline, Jervis Bay NSW
Oil Private. Illustrated Long, 1970, b/w, p69.
11. Burragorang Valley
Oil 40 x 50 Lawson 11/75
12. Across the Shoalhaven Nowra, NSW
Oil 14 x 19 LJ 5/79
13. West Cambewarra
Oil 14 x 20 Pickles 3/79
14. The Squall, Crookhaven Heads, South Coast
Oil 35 x 45 Grey 6/80
15. The Shoalhaven at Bamarang
Oil Private. Illustrated Long, 1970, colour, p53.
Reference: McCulloch (1968), Long (1970), Marshall (1971), Craig (1982), Germaine (1984).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Wakelin Roland (1887-1971)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Roland Wakelin (1887-1971)
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Orban Desiderius (1884-1986)view 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

Lawrence George Feather (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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Flower Cedric (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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Hanson Leon William (1918- )view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Leon William Hanson (1918- )
1. Broken Light, Berry
Oil 27 x 45 Lawsons 6/84
Reference: Craig (1982), Germaine (1984).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Watt Victor Robert (1886-1970)view 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

Watt Victor Robert (1886-1970)view 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

Wood C Dudley (1905-1980)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
C. Dudley Wood (1905-1980)
1. Steelworks, Port Kembla 1950-1
W/C & G 54 x 41.6 WCG
2. (Steelworks)
W/C & G 37.5 x 32.6 WCG
3. Dumping Slag
W/C & G 37.7 x 51 WCG
Reference: McCulloch (1968), Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Perceval John view 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

Eardley Gifford Hview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Gifford H. Eardley
1. Central Illawarra 1950-69
64 pencil sketches ML PXA129
2. Northern Illawarra 1950-73
63 pencil sketches ML PXA130
A collection of small pencil sketches of buildings and landscapes in the central and northern sections of Illawarra.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Allen-Jones Jean view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Jean Allen-Jones
1. Boat Harbour , Wollongong March 1954
Gouache 41.4 x 56.9 WCG
Reference: Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Clarke Eric (1893-1962)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Eric Clarke (1893-1962)
1. Lake from Berkeley 1954
W/C 30.4 x 40.7 WCG
2. Albion Park Landscape c1960
W/C & G 42.5 x 50.3 WCG
Reference: Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Allcot John (1888-1973)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 Allcot (1888-1973)
1. Port Kembla - view south 1955
P 35.1 x 44.9 WCG
2. View of the South Coast
Oil 26 x 38 Lawsons 7/81
Reference: McCulloch (1968), France (1988), Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Rydge Albert (1903- )view 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

Cochrane Frida (?-1985)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Frida Cochrane (?-1985)
1. Farm near Fairy Meadow 1956
Charcoal 48.2 x 38 WCG
2. Rural Scene with Mt. Keira 1959
Oil 43.4 x 53 WCG
3. Corrimal rubbish tip 1961
Oil 25.5 x 30.7 Private
Reference: France (1988), Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

McBrien D Aview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
D.A. McBrien
1. Mt Keira from Springhill Road 1956
Oil 44.5 x 54.7 WCG
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Stedman Jeanette Cview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Jeanette C. Stedman
1. Fishing Boats, Wollongong 1956
Oil WCG
Reference: McCulloch (1968), Germaine (1984).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Townshend G K (1888-1969)view 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

Williams Fred (1927-1982)view 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

McNamara Frank (1916- )view 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

Morrison Joy view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Joy Morrison
1. South Beach [ Wollongong ] c1959
Pen, ink & wash 33.5 x 48 WCG
Reference: Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Dennis Margery view 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

Backen Earle (1927- )view 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

Crossley George (1932- )view 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

Lawrence Bruce Cassels (1932- )view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Bruce Cassels Lawrence (1932- )
1. South Coast Landscape
Oil 31 x 41 AAA 5/83
2. Minamurra Entrance
Oil 46 x 71 AAA 10/82
Son of the artist George Feather Lawrence. Reference: Craig (1982).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Pratt Douglas Fieldew (1900-1972)view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Douglas Fieldew Pratt (1900-1972)
1. Coastal Landscape 1960
P 22.8 x 33.3 WCG
2. Far South Coast 1969
Oil 24 x 29 LJ 11/79
3. Landscape South Coast 1970
Oil 35 x 37 Pickles 7/80
4. Burragorang Valley Sketchbook
P ML PXA356
Reference: McCulloch (1968), Craig (1982), Walsh (1990).
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Caldwell Tuk view 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

Ansdell 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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Loxton John S (1903-64)view 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

Peascod William (1920-1987)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 Peascod (1920-1987)
1. North of Wollongong 1961
Oil 92 x 123.3 Private
A large collection of Peascod's works are held by the Wollongong University , where he worked as a part-time lecturer in art. His work was mostly abstraction. Reference: Germaine (1984), France (1988).

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Plaisted Nella view 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

Warren Guy (1921- )view 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

Hughes Robert (1938- )view 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

Aspden David (1935- )view 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

GrieveAlan Robert Colquhoun (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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Beamish Winifred view 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

Flaxman Mollie view 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

Baker Alan Douglas (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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Agrums Marie 1970view 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

Boyd Jamie (1948- )view 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

Wilson Robert (1942- )view 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

Filipich Werner view 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

Kermond Lawrence D (1918- )
view 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

Sparks Cameron (1930- )
view 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

Boyd Arthur Merric Bloomfield (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.

Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Whiteley Brett (1939- )
view 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

Shead Garry (1942- )view 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

Hellier Dermont James John (1916- )view 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

Shipperlee Aview full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
A. Shipperlee
1. Wollongong Breakwater
Oil. Illustrated Illawarra Express, 15 October 1975 .
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Grigg Gillian (1933- )view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Gillian Grigg (1933- )
Produced a series of ink drawings for Illawarra Sketchbook, (Rigby Publications, Sydney, 1976)
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Miller Max (1940- )view 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

Prunster Ursula view full entry

Reference: see Landscape Art of the Illawarra Region of New South Wales 1770-1990 - A Catalogue of Works by Michael Organ.
Ursula Prunster
1. Illawarra Fig 1978
Oil 107 x 85
Publishing details: online at http://www.michaelorgan.org.au/illart1.htm

Constantine P 1979view 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

Fuller W 1979view 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

Hilder Barbara 1979view 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

Moylan Patricia 1979view 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

Nolan Sir Sydney (1917- )view 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

Redback Graphixview 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

Chapman David 1981view 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

Kubbos Eva 1981view 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

Oldfield Allan (1943-view 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

Carment Tom (1954- )view 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

Cox Robert Bruce 1983view 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

Koenig Bruno 1984view 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

Senbergs Jan (1939- )view 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

Simpson Robert 1985view 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

Townsend Amanda 1980sview 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

Potonides Adriana (1924- )view 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

Ayre W J 1980sview 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

Badman Beverley 1980sview 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

Brown Wilga 1980sview 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

Carling June 1980sview 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

Cowie Edward (1943- )view 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

Craven B K 1980sview 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

Down Ruth 1980sview 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

Eveleigh John 1980sview 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

Friend Gwenneth J 1980sview 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

Huckel Daisy M 1980sview 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

Hull Anthony (1949- )view 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

Kiwi James 1980sview 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

Knowles Nell 1980sview 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

Kouto Edith 1980sview 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

Krak Peter 1980sview 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

Lamb Ann 1980sview 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

Lanceley Colin view 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

Lee Vicki 1980sview 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

MacLeod Ivy 1980sview 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

Mitchell Howard 1980sview 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

Neilley Helen J 1980sview 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

Peschel Kurt 1980sview 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

Queen Jean 1980sview 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

Quirk James 1980sview 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

Ring Bev 1980sview 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

Rumble Roma 1980sview 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

Scobie Carlene M 1980sview 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

Smith Janet 1980sview 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

Smith Molly 1980sview 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

Taylor Jennifer 1980sview 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

Wallace Marie 1980sview 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

Williams Pat 1980sview 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

Andrews B 1980sview 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

Bevan H 1980sview 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

Bridge B 1980sview 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

Burke M 1980sview 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

Callas G G 1980sview 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

D’Onofrio T 1980sview 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

Elvy L 1980sview 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

Erickson C 1980sview 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

Evans L R 1980sview 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

Franklin Brian 1980sview 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

Frutos Gabriela (1964- ) view 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

Goldsworthy Pview 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

Houghton T 1980sview 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

Jones J 1980sview 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

McKee M 1980sview 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

McKenzie Ian 1980sview 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

Murphy Yvette 1980sview 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

Nicmanis A 1980sview 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

Norington K 1980sview 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

Perkins John 1980sview 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

Prehn L 1980sview 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

Sealy Doug 1980sview 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

Shurley J 1980sview 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

Staff P 1980sview 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

Stone E 1980sview 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

Vander John 1980sview 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

Wheatley C 1980sview 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

Wiggins Saddie 1980sview 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

Wright M L 1980sview 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

Zamroz H 1980sview 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

Brown Monicaview 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

Orton Kathryn 1990view 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

Brown Pview 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

Gleeson Jamesview 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

Gordon Donaldview 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

Halstead Gview 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

Mathews Johnview 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

Parker Dudleyview 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

Parsons Rview 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

Rose Herbertview 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

Salter E Mview 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

White Ronaldview 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

Paul Constanceview full entry

Reference: see A Survey of Australian Relief Prints - 1900-1950 Deutscher Galleries
Publishing details: Deutcher Galleries, 1978, pb, 125pp

Portraits In The Landscape view full entry

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

Tuckson Tony Wind 1970view full entry

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

Marika family Marika, Wandjuk, Mawalanview full entry

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

Tjapaltjarri Tim Leuraview full entry

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

Tjapaltjarri Clifford Possumview full entry

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

Nakamarra Daisy Leuraview full entry

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

Johnson Timview full entry

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

Boyd Arthurview full entry

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

Weight Gregview full entry

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

Nolan Sidney Daisy Bates etcview full entry

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

Armstrong Bruceview full entry

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

Siwes Darrenview full entry

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

Hayes Sahlanview full entry

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

Amor Rickview full entry

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

Drysdale Russell portrait of Donald Friendview full entry

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

Maddock Beaview full entry

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

Maynard Rickyview full entry

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

Mack Ludwig Hirschfeldview full entry

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

Gilbert Kevinview full entry

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

Campbell Robert Jrview full entry

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

Cazneaux Haroldview full entry

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

Jones Quentinview full entry

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

Gleeson Jamesview full entry

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

Maynard Rickyview full entry

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

Identities - art from Australiaview full entry

Reference: Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.

Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Contemporary artview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Gascoigne Rosemaryview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Gentle Ianview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Johnson Timview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Johnson Timview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Kngwarreye Emily Kameview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

McKinnon Robynview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Risley Tomview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Robinson Williamview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Thomas Roverview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Warren Guyview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Watson Judyview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Lawrence Kayview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Nedelkopoulos Nicholasview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Rubin Victorview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Bennett Gordonview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Callas Peterview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Cole Peterview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Foley Fionaview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Gittoes Georgeview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Howard Ianview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Martin Mandyview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Parr Mikeview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Senbergs Janview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Tillers Imantsview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Waller Ruthview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Baker Nyukanaview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Brassil Joanview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Valamanesh Hosseinview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Taiwan exhibition of Australian artview full entry

Reference: see Identities : art from Australia : contemporary Australian art to Taiwan / [Deborah Hart, curator]. Includes essays on each artist. Touring to Wollongong City Gallery April-June 1994, Taipei Fine Arts Museum December 1993-February 1994.
Parallel text in Chinese and English.
Publishing details: Taipei Fine Arts Museum, 1993
173 p. : col. ill.

Blackman Charlesview full entry

Reference: see 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.

Connor Kevinview full entry

Reference: see 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.

Firth-Smith Johnview full entry

Reference: see 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.

Hodgkinson Frankview full entry

Reference: see 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.

Johnson Michaelview full entry

Reference: see 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.

Lanceley Colinview full entry

Reference: see 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.

Leveson Sandraview full entry

Reference: see 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.

Olsen Johnview full entry

Reference: see 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.

Petyarre Gloria Tamerreview full entry

Reference: see 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.

Proud Geoffreyview full entry

Reference: see 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.

Rees Lloydview full entry

Reference: see 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.

Storrier Timview full entry

Reference: see 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.

Thomson Annview full entry

Reference: see 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.

Tjakamarra Long Jack Phillipus 2 worksview full entry

Reference: see 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.

Tjampitjinpa Ronnieview full entry

Reference: see 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.

Tjapangati Charlieview full entry

Reference: see 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.

Whiteley Brettview full entry

Reference: see 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.

Zofrea Salvatoreview full entry

Reference: see 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.

Zusters Reinis 2 worksview full entry

Reference: see 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.

Contemporary artview full entry

Reference: see 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

Askill Danielview full entry

Reference: see 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

Crooks Danielview full entry

Reference: see 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

Gallop Michaelview full entry

Reference: see 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

Jinks Samview full entry

Reference: see 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

Langton Christopherview full entry

Reference: see 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

Mueck Ronview full entry

Reference: see 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

Norton Adamview full entry

Reference: see 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

Pailthorpe Badenview full entry

Reference: see 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

Piccinini Patriciaview full entry

Reference: see 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

Swallow Rickyview full entry

Reference: see 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

sublime in Australian contemporary artview full entry

Reference: see 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

realism in Australian contemporary artview full entry

Reference: see 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

Contemporary artview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Bennett Gordonview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Burchill Janetview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Foley Fionaview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Gerber Matthysview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Gibson Jeffview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Johnson Timview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Jubelin Narelleview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Lee Lindyview full entry

Reference: see Para Culture by Rex Butler, Keith Broadfoot, Ross Gibson, Meaghan Morris (writers, Sally Couacaud (curator) et al. Exhibition catalog of Artspace Sydney event including artists - Gordon Bennett, Janet Burchill, Fiona Foley, Matthys Gerber, Jeff Gibson, Tim Johnson, Narelle Jubelin and Lindy Lee. Includes color images and essays by various art critics and curators.
Publishing details: Published by Artspace Sydney, Australia (1990). Artspace Sydney, Australia, 1990. Soft cover. 1st Edition. 44 pages

Cook Ray b1962 notesview full entry

Reference: see 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

Riley Michael Alan 1960-2004 notesview full entry

Reference: see 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

Riley Michael Alan 1960-2004 notesview full entry

Reference: see 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

Moffatt Tracey notesview full entry

Reference: see 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

Mason Belinda notesview full entry

Reference: see 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

Pearce Andrew notesview full entry

Reference: see 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

Shmith Athol notesview full entry

Reference: see 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

Dupain Max notesview full entry

Reference: see 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

Henson Bill notesview full entry

Reference: see 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

Moore Davidnotesview full entry

Reference: see 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

Cotton Olive notesview full entry

Reference: see 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

Deacon Destiny notesview full entry

Reference: see 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

Hicks Petrina notesview full entry

Reference: see 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

Pearce Andrew notesview full entry

Reference: see 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

McEwan Vic notesview full entry

Reference: see 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

Drummond Jessica notesview full entry

Reference: see 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

O’Donnell Catherine notesview full entry

Reference: see 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

Blackman Charles notesview full entry

Reference: see 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

Tomescu Aida notesview full entry

Reference: see 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

Bennett Gordon notesview full entry

Reference: see 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

Parr Mike notesview full entry

Reference: see 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

Drysdale Russell notesview full entry

Reference: see 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

Jack Kenneth notesview full entry

Reference: see 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

Njiminjuma Jimmy notesview full entry

Reference: see 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

Macfarlane Stewart notesview full entry

Reference: see 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

Eustace Alfred 1820-1907 notes on gumleaf paintingsview full entry

Reference: see 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

Napanangka Lucy Yukenbarri notes view full entry

Reference: see 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

Fairweather Ian notes view full entry

Reference: see 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

Cress Fred notes view full entry

Reference: see 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

Reid Cliff notes view full entry

Reference: see 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

Olley Margaret notes view full entry

Reference: see 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

Roberts Tom notes view full entry

Reference: see 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

Counihan Noel notes view full entry

Reference: see 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

Gleeson James notes view full entry

Reference: see 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

Boyd Guy notes view full entry

Reference: see 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

Wicks Arthur notes view full entry

Reference: see 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

Connelly-Northy Lorraine notes view full entry

Reference: see 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

Coles Will notes view full entry

Reference: see 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

Byrne Penny notes view full entry

Reference: see 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

Luke Emma notes view full entry

Reference: see 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

Luke Vicki notes view full entry

Reference: see 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

Hamm Treana notes view full entry

Reference: see 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

Vassilieff Danila notes view full entry

Reference: see 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

postersview full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Boyd Robin p21view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Davies William fl1855-82view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Wendel Richard 1851-1926 numerous references esp p7-11 p46-7view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Troedel Charles view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Young William Blamire p12, 17 etcview full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Troedel & Co p48-9 etcview full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Reid Beryl view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Traill Jesse eg p17view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Hackett J Eview full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Dillon Cyril eg p17view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Brooke-Hansen Theo p17view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

May Phil p17view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Sass Alec p17view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Northfield James p18-19 etc view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Trompf Percy p18 etc view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Freedman Harold p18 p65 etc view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Lindsay Normanview full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Tibbits William 1837-1906 p26view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

ANTA Australian National Travel Association postersview full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Australian National Travel Association posters - ANTA view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Sharp Martin p30view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Sellheim Gert p31 etcview full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Williams Deborah p34, 36, 71view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Gibb Viva p35 p36view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Porter Carol b1948 p38view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Allen Richard p42view full entry

Reference: All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Turner Charles 1869-1912view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Ferres John 1818-98 p44view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Linklater B Rview full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Andrew Carl Francis b1939view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Jillposters p61view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Denton Mark b1961 p62view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Cozzolino Mimo p64view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Fisher Jeffreyview full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Horman William p65view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Keene Norman p66view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

McMahon Marie Elizabeth Rita b1953 p66view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Mayo Eileen p66view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Molnar George 1910-98 p66view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Sanchez Albert view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Toskan Frankview full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Sayers John Nutt 1808-1891 p67view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Vickery John 1906-83 p71view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

poster collectionsview full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Freedman Harold collection of posters p72view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Gibb Viva collection of posters p73view full entry

Reference: see All the rage. The poster in Victoria 1850 – 2000. Catalogue of an exhibition held at the State Library of Victoria from 10th August to 28th October 2001. Some biographical information on artists included in the text.Bibliography: p. 74.[
Publishing details: Melbourne : State Library of Victoria, 2001. Quarto, illustrated wrappers, pp. 74, illustrated.

Ignatius Motherview full entry

Reference: see dath notice in Gippsland Times, Mon 29 Aug 1949, Page 1:
PASSED AWAY
MOTHER IGNATIUS
The community of Notre Dame
de Sion, Sale, suffered a severe
loss in the person of Mother
Marie Ignatius, whose death oc
curred at Sale on Friday. Daugh
ter of the late Mr. and Mrs. John
Nicholas, of Trafalgar and Strat
ford, Mother Ignatius entered the
congregation of Notre Dame de
Sion at Sale in 1912 and all her
religious life was spent at the
Sion 'of Sale.; :An artist of. dis
tinction, Mother Ignatius. will be
much' iegretted and is remembered by many friends and past pupils who profited by her generous use of her artistic talents.

Nicholas? Ignatius Motherview full entry

Reference: see death notice in Gippsland Times, Mon 29 Aug 1949, Page 1:
PASSED AWAY
MOTHER IGNATIUS
The community of Notre Dame
de Sion, Sale, suffered a severe
loss in the person of Mother
Marie Ignatius, whose death oc
curred at Sale on Friday. Daugh
ter of the late Mr. and Mrs. John
Nicholas, of Trafalgar and Strat
ford, Mother Ignatius entered the
congregation of Notre Dame de
Sion at Sale in 1912 and all her
religious life was spent at the
Sion 'of Sale.; :An artist of. dis
tinction, Mother Ignatius. will be
much' iegretted and is remembered by many friends and past pupils who profited by her generous use of her artistic talents.

Waddell Craigview full entry

Reference: from artist’s website:
Craig Waddell was born in Sydney in 1973. He graduated with a Bachelor of Fine Art from the National Art School in 1999 and a MFA (Printmaking) at the Chiang Mai University, Thailand 2004.
Waddell’s recent awards include: the 2008 Moya Dyring, Art Gallery of NSW Residency at the Cite Internationale des Arts, Paris; The 2007 Marten Bequest Traveling Art Scholarship; and the 2007 Gunnery studio, Artspace Sydney.
He won the Mosman Art Prize in 2010; the previous year he won the Mosman Art Prize Peoples Choice award and was highly commended. He was awarded the Woollahra Small Sculpture Prize in 2005 and the 2005 Tattersall’s Art Prize for landscape painting. He was also winner of the Paddington Art Prize and the Norville Australian Landscape Prize, both in 2004.
Waddell has been a finalist in the Sulman Prize in 2010, Dobell Drawing Prize in 2007 and 2004, the 2007 Glover Prize for Landscape Painting of Tasmania, the 2006 Archibald Prize, the 2006 Kilgour Prize and the ABN AMRO 2006 Emerging Art Award. He was also included in the Salon Des Refuse 2006 exhibition.
In 2005 he was a Finalist in the Wynne Prize, and in the 2005 Blake Prize for Religious Art. Waddell was highly commended for the Brett Whiteley Traveling Scholarship in 2003, 2001 and 1999 and the Lloyd Rees Memorial Award 2000. He was the recipient of the Waverley Painting Prize 1999 and the Pat Corrigan Traveling Scholarship in 1998.
Waddell has completed residencies in Paris, Thailand, Vietnam and Sydney and has participated in many group shows.
Publishing details: https://craigwaddell.com/bio/

Rrap Julieview full entry

Reference: see Look Magazine, Art Society of NSW, March-April, 2020: Article on works in the AGNSW collection that the artist ‘has found formative’ p21-23

Badham Herbert Breakfast Piece 1936view full entry

Reference: see Look Magazine, Art Society of NSW, March-April, 2020: Article on Breakfast Piece 1936

Andrew Brookview full entry

Reference: see Look Magazine, Art Society of NSW, March-April, 2020: Article on artist’s Sydney Biennale.

Brack John portrait of Barry Humphriesview full entry

Reference: see Look Magazine, Art Society of NSW, March-April, 2020: Article on artist’s portraits of Barry Humphries and The New House, etc

McCahon Colinview full entry

Reference: see Look Magazine, Art Society of NSW, March-April, 2020: Article on recent book on the artist written by Justin Paton

McCahon Colinview full entry

Reference: McCahon Country by Justin Paton
Publishing details: Penguin, Random House, 2020
Ref: 1000

Varvaressos Vickiview full entry

Reference: see Look Magazine, Art Society of NSW, March-April, 2020: Article p67-70.

Armitage Michael Man in Waves, 2019view full entry

Reference: see Look Magazine, Art Society of NSW, March-April, 2020: Article.

Nibbi Gino Bookshopview full entry

Reference: see The Conversation online, May 22, 2020, Friday essay: the Melbourne bookshop that ignited Australian modernism, by Yves Rees, Lecturer in History, La Trobe University: ‘,,,nestled in the heart of Melbourne’s city laneways was another birthplace of Australian modernism. At 166 Little Collins Street, near the “Paris End” of Collins Street, was the Leonardo Art Shop – a bookshop that during the 1930s and 40s inspired a generation of young artists to create a homegrown avant-garde.
The bookshop was the creation of Gino Nibbi, born in Fermo, Italy, in 1896. Nibbi trained as an accountant, but his passion was modern art. He migrated to Melbourne with his wife in 1928 and established Leonardo Art Shop several months later...’

Leonardo Art Shopview full entry

Reference: see The Conversation online, May 22, 2020, Friday essay: the Melbourne bookshop that ignited Australian modernism, by Yves Rees, Lecturer in History, La Trobe University: ‘...nestled in the heart of Melbourne’s city laneways was another birthplace of Australian modernism. At 166 Little Collins Street, near the “Paris End” of Collins Street, was the Leonardo Art Shop – a bookshop that during the 1930s and 40s inspired a generation of young artists to create a homegrown avant-garde.
The bookshop was the creation of Gino Nibbi, born in Fermo, Italy, in 1896. Nibbi trained as an accountant, but his passion was modern art. He migrated to Melbourne with his wife in 1928 and established Leonardo Art Shop several months later...’

Allen Mary Cecil view full entry

Reference: see The Conversation online, May 22, 2020, Friday essay: the Melbourne bookshop that ignited Australian modernism, by Yves Rees, Lecturer in History, La Trobe University: ‘...nestled in the heart of Melbourne’s city laneways was another birthplace of Australian modernism. At 166 Little Collins Street, near the “Paris End” of Collins Street, was the Leonardo Art Shop – a bookshop that during the 1930s and 40s inspired a generation of young artists to create a homegrown avant-garde.
The bookshop was the creation of Gino Nibbi, born in Fermo, Italy, in 1896. Nibbi trained as an accountant, but his passion was modern art. He migrated to Melbourne with his wife in 1928 and established Leonardo Art Shop several months later... When Mary Cecil Allen returned home to Melbourne from New York in 1936, she was excoriated by local critics for exhibiting “distorted” and “bizarre” abstracts that exemplified “the superficial nature of modern painting”.

Crawford Lenview full entry

Reference: see The Conversation online, May 22, 2020, Friday essay: the Melbourne bookshop that ignited Australian modernism, by Yves Rees, Lecturer in History, La Trobe University: ‘...nestled in the heart of Melbourne’s city laneways was another birthplace of Australian modernism. At 166 Little Collins Street, near the “Paris End” of Collins Street, was the Leonardo Art Shop – a bookshop that during the 1930s and 40s inspired a generation of young artists to create a homegrown avant-garde.
The bookshop was the creation of Gino Nibbi, born in Fermo, Italy, in 1896. Nibbi trained as an accountant, but his passion was modern art. He migrated to Melbourne with his wife in 1928 and established Leonardo Art Shop several months later... As the artist Len Crawford recalled, Nibbi’s had a “powerful effect” on local artists, introducing them to things “you’d never dreamed of”. Crawford regularly stopped by to pour over the displays. When funds allowed, he’d splash out on a six-penny postcard to take home...

Walker James 1785-1856view full entry

Reference: see Joels auction article online (Leonard June-July 2020), for upcoming auction, ‘A Look Back In Time: Two Important Figures in 19th Century Australia’:
JAMES WALKER (Scottish/Australian, 1785-1856) i) A red sketchbook containing illustrations ii) A brown sketchbook containing illustrations iii) A brown notebook containing diary entries iv) A notebook titled “Collectanea” inscribed with James Walker on the cover containing miscellaneous writings $15,000-25,000.
JAMES WALKER (Scottish, 1785-1856)
In 1823, James Walker arrived in Sydney from Scotland, joining his younger brother, William Walker. Together the two brothers developed Walker and Co., engaging in coastal shipping and whaling from their wharf and warehouse at Dawes Point. During the late 1830s the company exported large quantities of wool to London.
Walker established himself at Wallerawang in 1824, taking its name from an Indigenous word meaning “place of plenty of wood and water”. Wallerawang was a sheep and cattle station which also served as a major stop-over location for travellers between Sydney, Mudgee and Bathurst.
In 1836, Charles Darwin visited the district and specifically Wallerawang, after which he wrote, “this place offers an example of one of the large farming or rather sheep grazing establishments of the colony”.
James Walker continued to build both property and livestock numbers over the following two decades including Loowee (Lue) about 70 miles from Wallerawang, Biambil on the Castlereagh River, Yooloondoory, Coonamble, Barradean, and Mobilla near the Warrumbungle Ranges.

Melgaard Bjarneview full entry

Reference: see Fernando Durán auction on Tuesday 26 May, 2020:
lot 240, Bjarne Melgaard (Sydney, Australia 1967) "Untitled". 2005 Acrylic on canvas Signed and dated on the back Size: 116 x 100 cm Work exhibited at (label on back): -Senda Gallery, "Bjarne Melgaard", Barcelona 9 November 2007-5 January 2008 S

Madrid

Hahn Renate
view full entry

Reference: see Auktionshaus Mehlis GmbH, Plauen, 30 May, 2020, lot 3353
Renate Hahn, modern composition
Westerwald, modern times, pottery, rolled and pinched, fired in the raku method and thereby partly glazed in white and light turquoise and metallic rose-golden and gold lustre, with rolled up pattern and decorative fire cracks, in abstract, standing human form without arms, plugged onto a flat square copper base, undamaged condition, h total approx. 46,5 cm. Artist info: German sculptor (born 1946 in Norderney), 1980 internship with Inke and Uwe Lerch, guest studies under Prof. Johannes Gebhardt at the University of Applied Sciences Kiel, guest studies under Prof. Ralf Busz and Prof. Paulus at the Gesamthochschule Kassel, further teachers were Wendelin Stahl, David Leach and Rainer Brodesser, 1989 journeyman's examination, 1996 guest artist and short lecturer at the Academy of Arts in Bratislava, 1998/99 master student for free ceramics with Professor Kawasaki in Kyoto in Japan, 2001 guest artist and lecturer at the Art Academy of the National University of Canberra/Australia, 2005 member of GEDOK in Bonn, 2007 member of ASK in Siegen, 2007 and 2008 guest artist at the University of Honolulu, since 1985 numerous solo and group exhibitions and participation in international competitions.

Clark Donald B 1928-2008view full entry

Reference: see Art ala Carte 2020 auction,
June 4, 2020, 5:30 PM PST
New Westminster, BC, CA lot 28:
Artist: Donald B. Clark - Australian (1928-2008) Title: Corroboree Dimensions: 21.25" by 14" Frame 23" by 16" Edition: Original Medium: Hand painted on Burlap Notes: Excellent condition original signed by artist
Dimensions
23" by 16"
Artist or Maker
Donald B. Clark - Australian (1928-2008)
Medium
Hand painted on Burlap

Stephan Phillipview full entry

Reference: see Phillip-Stephan and Phillip Stephan

Phillip Stephan view full entry

Reference: see Phillip-Stephan and Phillip Stephan and Stephan Phillip

Phillip-Stephan view full entry

Reference: see Lyon & Turnbull auction
June 17, 2020, 10:00 AM BST
Edinburgh, United Kingdom, Lot 34: Australia - Phillip-Stephan Photo-Litho. and Typographic Process Company Sydney, [c. 1880-1900]:
Australia - Phillip-Stephan Photo-Litho. and Typographic Process Company Sydney, [c. 1880-1900] 31 loose photo-litho prints of Australia and New Zealand, a few frayed and/or dampstained in margin, prints c. 54 x 44cm
Note: Samuel Phillips, photographer, and Adam Stephan, lithographer, began working on their process in 1884, and in late 1887 formed the Sydney based company.

Potter Charlesview full entry

Reference: Photographs Illustrating the Earliest Times New South Wales. Album by Charles Potter, Government Printer c1893. Containing 59 original albumen print photographs of early watercolours & engravings, commencing in 1770. [At auction at Davidsons Auction, May 24th at lot 601)
Publishing details: Government Printer c1893. Album cover size 40x52x6cm.
Ref: 1000

Dale F Bview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lt 75, Rare pair of Colonial boxes, solid Tasmanian musk with myrtle secondary timbers, interior fitted with compartments, and bottles, pencil inscription on both reads "F.B. DALE, Sydney, 1844". Colonial born Dale worked as a cabinet maker in Sydney, New South Wales during the early to mid 1840s.
16cm high, 33cm wide, 22.5cm deep.
Examples of his work can be found in:
"Australian Furniture, Pictorial History And Dictionary 1788-1938", by Kevin Fahy and Andrew Simpson, plate 399.
"Early Colonial Furniture In New South Wales And Van Diemen's Land" by Clifford Craig, Kevin Fahy and E. Graeme Robertson, plate 155.
"Nineteenth Century Australian Furniture" by Kevin Fahy, Christina Simpson and Andrew Simpson, plate 471.

Davis Blanche B 1858-1933view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lt 84, BLANCHE B. DAVIS [Australia, 1858 - 1933]
A collection of six plates and four compote stands, c1907.
Handpainted porcelain, each signed and titled verso,
21cm diameter (plates); 22cm diameter (compote stands).

Titled, as follows:
"Gippsland;
Twoong [sic], N.S.Wales;
Watts River;
Lake Victoria, Gippsland;
Tributary of Watts River, 1907;
Hyington, Victoria;
Brighton, Victoria;
Heidliberg [sic], Vic.;
Healesville, Vic.;
Bulli Pass, N.S.W."

Blanche Davis exhibited at the First Australian Women's Work Exhibition held in Melbourne from 23 October to 30 November 1907.
It is likely that this collection was shown at that exhibition. Davis was a teacher of porcelain painting and held classes at her studio in Collins Street, Melbourne, and was a regular exhibitor from 1904 to 1925.
Ref: Australian Art Pottery: 1900-1950, p126.
Very rare to find a large group of hand-painted porcelain from this early period also with place names as well as being signed and dated.

Sherwin Jamesview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lt 89, JAMES SHERWIN antique mahogany brass bound writing box with owner's name plate on the lid "Jas. SHERWIN, 1814".
Born in 1788 in the rich pottery district of Staffordshire where he learnt his craft, Sherwin moved to St Petersburg in Russia in the early 1820's. He lost his wife and son in floods and decided to move to Van Diemen's Land. James Sherwin established one of Tasmania's earliest commercial potteries setting up in Hobart in 1831. This box is purported to have personally belonged to him and travelled from England to Russia and finally to Tasmania.
19cm high, 50.5cm wide, 19.5cm deep.
PROVENANCE: Private collection Tasmania

STRIEZEL FRANCIS EDMOND (1860-1935)view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lots 104-107, FRANCIS EDMOND STRIEZEL (1860-1935),
"Cockatoo", circa 1900,
carved wood wall plaque,
impressed maker's mark,
44 x 37cm
German born Streizel emigrated to Australia in 1886 and worked with fellow German carver Robert Prenzel in Melbourne. Works by Streizel are extremely rare. A similar pair of plaques can be found in The NGV collection (National Gallery Of Victoria).
PROVENANCE: Private collection Melbourne, previously by direct Striezel family descent.

CREETH MAY (1854-1947)view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 184, MAY CREETH (1854-1947),
I.) Sturt's Desert Pea, W.A.
II.) Kangaroo Paw, W.A.
hand-painted porcelain plates, circa 1900,
12cm and 13cm diameter

LEVINY DORETHY (BERTHA) (1881-1968) jeweller view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 185, (BERTHA) DORETHY LEVINY (1881-1968) plaque, enamel metal, signed "D.L.", early 20th century.
Dorethy Leviny grew up in the historic Castlemaine house "BUDA" so named by her Hungarian father Ernst Leviny a fine jeweller of note in the district. The house was left to the state after 118 years in the Leviny family.
12 x 15cm

Kingsley-Smith C
view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 353, DANIEL WHITE Esq. hand-painted illuminated presentation,
"To Daniel White Esq. Dear Sir, In The Presence Of A Gathering Representing All Branches Of The Carriage Trade Of Victoria And On The Eve Of Your 81st Birthday, We Desire To Offer Our Congratulations And To Ask You To Accept This Address As An Expression Of The Very Great Esteem With Which You Are Held By The Trade With Whom You Have Been Hounourably Associated For Over Fifty Years, 18th Sept. 1915.",
Signed by Chairman William Burton, artwork by C.Kingsley-Smith.
White was born in September 1834 at Roscrea, County Tipperary, Ireland. Following the death of his father to whom he was apprenticed as a blacksmith, White age seventeen and the eldest of seven children migrated to Melbourne with his mother and siblings in 1861. By 1868 White established his own carriage-building business in Swanston Street. The business grew rapidly and was known for the quality of it's carriages making regular appearances at international exhibitions and even made carriages for the King of Siam. With the arrival of the combustion engine White turned to making automobile bodies for imported chassis.
White was a life member of the Coach and Waggon Builder's Association, and an office-bearer in the Melbourne Chamber of Commerce. In 1877 he had moved the motion that created a local chamber of manufactures, of which he was president (1883-84) and honorary treasurer for thirty-eight years.
45 x 33cm

Shapiro Sol 1914 – 1980view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 500, SOL SHAPIRO coffee table, carved teak with glass top, circa 1960,
47cm high, 170cm wide, 43cm deep.
Born in Russia, Sol Shapiro (1914 – 1980) arrived in Perth in 1939, where he began working in his uncle's cabinet-making factory. From 1948 to 1951 Sol worked in Sydney for Paul Kafka, a furniture designer and maker from Vienna. In 1958 Sol returned to Melbourne, continuing to design and make truly distinct and iconic furniture.

Barnes Josiah Earl (Australian 1858–1921view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 598, Josiah Earl BARNES (Australian, 1858–1921).|
Australian Troopships Departing Melbourne,1914–1917.
Forty-five (45) vintage silver gelatin photographs,
each annotated with date and ship name in pencil
with photographer’s stamp verso,
10.8 x 15.6cm (approx. each).
Stamp reads “Tel. 1966 Hawthorn. J.E. Barnes,
Press & Outdoor Photographer. Kew, Melb. Copyright.”

Known as “the embarkation photographer”, Josiah Barnes took an interest
in photographing Australian troopships as they departed for war from
Melbourne. He had two sons, “Norm and Victor, who left for war in
1916 (both returned to Australia after their service),” which may have
fuelled his interest. This group includes one photograph from 1914,
nine photographs from 1915, 29 photographs from 1916, and six
photographs from 1917. Some glass plate negatives by J.E. Barnes are
held at the Australian War Memorial.

The ships include the "Orvieto", the "Orsova", the "Euripides", the "Persia",
the "Makarini", the "Star of Victoria", the "Ulysses A38", the "Afric" and the"Wandilla".

Dexter Padre Walter Ernest
(British/Australian, 1873-1950)view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 606, Padre Walter Ernest DEXTER
(British/Australian, 1873-1950)
Anzac Cove Gallipoli, Turkey [Looking North To New Zealand Point]
1915/1925 hand-coloured silver gelatin photograph,
signed “Colarts [Studio, Sydney]” in ink on image lower right,
73 x 99cm in original oak frame.
Extremely rare in this large format.

Colarts Studios acquired the negative of this image taken by
Padre Walter E. Dexter, and subsequently included it in their touring
exhibition around Australia during the 1920s.

At the start of the Gallipoli campaign, Padre Dexter was stationed aboard the hospital ships
and provided emotional and medical support to hundreds of wounded. His fellow officers
held him in high regard. Captain Benjafield, a medical officer, wrote:

"Captain Dexter, chaplain to the 2nd Brigade … came aboard, and, throwing off his coat, waded in, and has helped us with our work with never a murmur or a complaint of any kind. He has been quite as good as a third doctor to us, and I feel more than grateful to him. There's no question he is one of the very best, and proves his Christianity by deeds - as well as words."

Dexter’s support remained steadfast through long hours and grim circumstances, and the courage and camaraderie he witnessed among the men greatly moved him. He wrote,

"One’s heart had to be very stout ... Shattered limbs, bullets in head, through the body and in every conceivable place, and yet with a smile they will say to me, ‘All right, doctor, tend this poor fellow first,’ and all the time they are in pain, with their bandages solid with stale blood … I wanted to bubble and cry and take them in my arms and soothe them, for their nerves were all racked, as well as their actual wounds. Instead, I joked with them, and made them laugh, and gave them cigarettes to smoke while I pulled the hard bandages from the wounds."

Colarts Studioview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 606, Padre Walter Ernest DEXTER
(British/Australian, 1873-1950)
Anzac Cove Gallipoli, Turkey [Looking North To New Zealand Point]
1915/1925 hand-coloured silver gelatin photograph,
signed “Colarts [Studio, Sydney]” in ink on image lower right,
73 x 99cm in original oak frame.
Extremely rare in this large format.

Colarts Studios acquired the negative of this image taken by
Padre Walter E. Dexter, and subsequently included it in their touring
exhibition around Australia during the 1920s.

At the start of the Gallipoli campaign, Padre Dexter was stationed aboard the hospital ships
and provided emotional and medical support to hundreds of wounded. His fellow officers
held him in high regard. Captain Benjafield, a medical officer, wrote:

"Captain Dexter, chaplain to the 2nd Brigade … came aboard, and, throwing off his coat, waded in, and has helped us with our work with never a murmur or a complaint of any kind. He has been quite as good as a third doctor to us, and I feel more than grateful to him. There's no question he is one of the very best, and proves his Christianity by deeds - as well as words."

Dexter’s support remained steadfast through long hours and grim circumstances, and the courage and camaraderie he witnessed among the men greatly moved him. He wrote,

"One’s heart had to be very stout ... Shattered limbs, bullets in head, through the body and in every conceivable place, and yet with a smile they will say to me, ‘All right, doctor, tend this poor fellow first,’ and all the time they are in pain, with their bandages solid with stale blood … I wanted to bubble and cry and take them in my arms and soothe them, for their nerves were all racked, as well as their actual wounds. Instead, I joked with them, and made them laugh, and gave them cigarettes to smoke while I pulled the hard bandages from the wounds."

Goldsworthy & Daveyview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 620, 1917 colour lithographic certificate
"City of South Melbourne
For Liberty For Justice ANZACS
The Mayor, Councillors, and Citizens
of the City of South South Melbourne
Hereby place on record their Thanks
and Appreciation for the conduct of
William L. Harries
who served his King and Country...."
designed by Goldsworthy & Davey
and printed by D.W.Paterson Co.,
with a photograph of Harries
inserted in the oval provided.
Dated 28/4/1917.
Attractively framed & glazed,
overall 75 x 59.5cm.

William Linden Harries enrolled in the A.I.F.
on 27 March 1916. He was 30 years & 1 month old.

Wiese Kview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 639, [GERMAN P.O.Ws in AUSTRALIA]
“Kampspiegel Monatshefte 1918” No. 6 - Sept.1918
(Camp Mirror) [Illustrated WWI Periodical For German
Prisoners Of War In Australia]
Stitch-bound softcover booklet with colour linocut cover,
14 pages, 22.1 x 17.4cm.

Publication details include “vol. 1, no. 6, 29 Sept. 1918.”
Captioned “Kriegskameraden. Junge Kookaburras" (War comrades. Young kookaburras).
The cover image is a linocut 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 who were thought to be potential fifth-columnists.

Graba Wview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 640, [GERMAN P.O.Ws in AUSTRALIA]
"Kampspiegel Monatshefte” No. 7
Camp Mirror) [Illustrated Periodical For Prisoners Of War In Australia]
Oct.1918 stitch-bound softcover booklet with cover consisting of a
lineblock image with colour linocut borders, 24 pages,
23 x 17.8cm.

Publication details include “vol. 1, no. 7, 27 Oct. 1918.” This periodical
produced by camp internees includes a rare colour linocut (p3) by W. Graba,
showing a view of the Holsworthy Internment Camp in Liverpool, NSW.

As well as soldiers and sailors captured during battle, many Germans living in
Australia at the time of the outbreak of WWI were jailed without trial due to their
classification as enemy aliens. Australia interned almost 7000 people during WWI
at Holsworthy, Berrima and Trial Bay (NSW) camps.

Moss L Cview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 642, L.C. MOSS, Madden St., Albert Park, Melbourne:
“AUSTRALIAN OFFICIAL WAR PHOTOGRAPHS”.
An almost complete set [70/72] of numbered and
captioned cigarette cards; in fine condition in a
contemporary album with L.C.Moss label on inside back cover.
The cards made for Moss by the Rose Stereographs company,
n.d. circa 1919.
Rare and ephemeral: a series of miniature cigarette card
reproductions of Official War Photographs, numbered and
captioned.

N.B.: Not to be confused with the 1922 series of 72 issued
by J.J.Schuh with their "Magpie" Cigarettes.

Falk Studiosview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 681,HENRY PARKES (1815 - 1896)
Falk Studios (Australian, active 1885-1900)
[Sir Henry Parkes],
c1892 vintage silver gelatin photograph, with Parkes’
signature with “Sincerely, Henry Parkes” in ink on a
slip mounted below image, with original backing
incorporating the “Falk Studios” blind stamp,
39 x 32cm (approx).
Laid down on acid-free paper.

During its time, Falk Studios, run by H.W. Barnett, was
one of the most respected photographic
studios in Sydney. Sir Henry Parkes was Premier of NSW
five times and became known as the “Father of Federation.”

Barnett H Wview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 681,HENRY PARKES (1815 - 1896)
Falk Studios (Australian, active 1885-1900)
[Sir Henry Parkes],
c1892 vintage silver gelatin photograph, with Parkes’
signature with “Sincerely, Henry Parkes” in ink on a
slip mounted below image, with original backing
incorporating the “Falk Studios” blind stamp,
39 x 32cm (approx).
Laid down on acid-free paper.

During its time, Falk Studios, run by H.W. Barnett, was
one of the most respected photographic
studios in Sydney. Sir Henry Parkes was Premier of NSW
five times and became known as the “Father of Federation.”

Vaniman Chester Melvin
(American, 1866-1912).view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 682,Chester Melvin VANIMAN,
(American, 1866-1912).
[Hobart From Salamanca Place, Tasmania],
1904 vintage platinum photograph, panorama,
annotated and dated “registered 1904”
and signed in negative lower right,
37.6 x 118cm. Laid down on acid-free backing.

This image was taken from the mast of a ship berthed alongside Princes Wharf;
and shows Sullivans Cove and the city of Hobart beyond it, with Mt Wellington
in the background, capped in snow. Vaniman had intended that his panoramas
be exhibited in public buildings as massive enlargements, but today they survive
as extremely detailed platinum contact prints.

Vaniman was an aviator as well as a photographer who specialized in panoramic images.
He shot his images from gas balloons, ships' masts, tall buildings and even a home-made
30-metre pole. He scaled buildings, hung from self-made slings, and scaled dangerous
high locations to capture his unique images.
lot 682, Chester Melvin VANIMAN,
(American, 1866-1912).
[Hobart Seen from the West],
1904 vintage platinum photograph, panorama,
annotated and dated “registered 1904”
and signed in negative lower left,
38 x 118cm. Laid down on acid-free backing.

Image shows the city of Hobart and the harbour,
taken from a raised vantage point uphill from
Lansdowne Crescent, West Hobart.

Lewis Alan M 1924view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 682,[POSTER NUMBER ONE!]
Allan M. LEWIS (dates unknown)
AUSTRALIA CALLS YOU
c1924 colour lithograph,
99 x 61.5cm. Linen-backed.
Text continues “To a scenic wonderland of mild winter and glorious summer.
An infinite variety of enchanting scenery, from tropical luxuriance to snow-clad alps.
Ask for illustrated booklet at railway stations, tourist offices & Australian agencies.
Poster no. 1. Issued by the Australian Railways Commissioners.
Waite & Bull Printers, Sydney.”

A very similar image was also used as the cover illustration for a travel guide (64pp)
also titled "Australia Calls You", which accompanies this poster and is depicted being
looked at by the gentleman at lower left. The cover of the guide includes the artist’s name
“Allan M. Lewis” and is dated “1924.”

The first example of this poster we have offered.

Mellblom Florence Tatham
(Australian, 1900 - 1983)view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 712, [VICTORIAN CENTENARY 1934]
Florence Tatham MELLBLOM
(Australian, 1900 - 1983)
Visit PORTLAND The First Victorian Settlement
during the Centenary Celebrations from 15th to 23rd November 1934"
1934 colour lithograph, signed "F. Mellblom" in image lower left,
63.5 x 101.5cm. Linen-backed.
Text continues in lower margin: "Arbuckle, Waddell Pty Ltd Print, Melb.”
Mellblom (nee Henry) was a painter, naturalist and photographer. She was born at Portland, Victoria, and studied art in Ballarat. She was a talented etcher from childhood, and joined the Portland Camera club. She also produced many watercolour paintings of the historic places of Portland. She was married (1932) to Karl Enoch Mellblom.

Murray Kennethview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 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.

Sellheim Gert
(Estonia, Australia, 1901-1970).view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 721, VICTORIAN RAILWAYS TRAVEL POSTER,
Gert SELLHEIM,
(Estonia, Australia, 1901-1970).
VISIT THE SEASIDE. Travel By Train,
c1930s colour process lithograph, signed in image lower left,
101 x 63cm. Linen-backed.
Text continues “Victorian Railways Australia. Poster no. 165. Take a Kodak.”

Estonian born, Sellheim studied architecture in Berlin, Munich and Gratz before travelling to London in the 1920s. He migrated to Australia arriving in Fremantle in January 1926. After a year of labouring work in rural WA he gained employment as a site architect at the University of Western Australia. In 1930 Sellheim moved to Melbourne where he set up his own architectural practice and began designing and exhibiting posters. His designs were unusual for the times. With bold use of photomontage, drawings and the juxtaposition of hand-lettering and commercial type text they were at the cutting edge of graphic design. In 1939 he was commissioned to decorate the Government tourist Bureau in Melbourne, producing a large scale mural using flat colour and photomontage. This work was awarded the 1939 Sulman Prize.
From the 1940s Sellheim created posters for Qantas Empire Airways, including the distinctive flying kangaroo logo. He was also noted for his interest in Aboriginal art and he incorporated Aboriginal-derived motifs frequently in his work.

During WWII Sellheim was classified by Australian authorities as an "enemy alien" and was sent to an internment camp in Victoria in 1943. After intervention from his family he was released to do military work. Ironically he was sent to work on the conversion of metric to imperial measurements of armaments. Sellheim's beach inspired travel posters are important examples of how beach culture archetypes have been adopted by Australian Government departments and agencies to market Australia as a tourist and migrant destination.

Head John Eview full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 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?

Smith Robin (N.Z./Australia, b.1927).view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 742, [AN UNUSUAL PLAYBOY MAGAZINE POSTER]
Robin SMITH
(N.Z./Australia, b.1927).
Tribesman with “Playboy” Magazine
1966/1977, signed in ink at lower right
88 x 60cm.

During a photographic assignment in Papua New Guinea Smith purchased a copy of Playboy magazine, which was banned in Australia at the time. On his entry to Australia, Customs confiscated the magazine but gave it back to Smith after some discussion. Smith then went straight out to a job in the outback with the magazine amongst his possessions. A tribesman, viewing the publication was perplexed as he had not ever seen photographs of people and tried to grasp the subjects without success. Later Playboy published this image as a poster, initially, without Smith’s permission. This example, printed in England by Athena International for Playboy, is dated 1977.

Smith Robin (N.Z./Australia, b.1927).view full entry

Reference: see Leski Auction, Melbourne, Australian & Historical, 13th June 2020 - 14th June, 2020:
lot 742, [AN UNUSUAL PLAYBOY MAGAZINE POSTER]
Robin SMITH
(N.Z./Australia, b.1927).
Tribesman with “Playboy” Magazine
1966/1977, signed in ink at lower right
88 x 60cm.

During a photographic assignment in Papua New Guinea Smith purchased a copy of Playboy magazine, which was banned in Australia at the time. On his entry to Australia, Customs confiscated the magazine but gave it back to Smith after some discussion. Smith then went straight out to a job in the outback with the magazine amongst his possessions. A tribesman, viewing the publication was perplexed as he had not ever seen photographs of people and tried to grasp the subjects without success. Later Playboy published this image as a poster, initially, without Smith’s permission. This example, printed in England by Athena International for Playboy, is dated 1977.

McGlinn Eleanor (Nellie)view full entry

Reference: Eleanor McGlinn was a student enrolled at the National Gallery School between 1877 and 1879. See: Artists Depiction of Melbourne from the South Bank of the Yarra in 1840; c. 1875-79; Eleanor McGlinn 1850-1937 artist; Courtesy State Library of Victoria. [Melbourne from the South Bank of the Yarra 1840 by Eleanor McGlinn.Shows Batman’s Hill that later became the site of Spencer Street Railway Yards, and John Fawkner’s hotel on the hill at the corner of Collins and Market Streets. Image: State Library of Victoria, Accession No: H265]

Harvey Schoolview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Harvey L J 1871-1949view full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Woodroffe Jessica Mary (Jessie) 1897-1990view full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Green Katherine Edith 1896-1919view full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Pearson Lucy Vice President Arts and Crafts Societyview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Bott Nell 1870-1943 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Barnes Beatrice b1883 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Connah Milly mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Aird T B Mrs mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Devereaux W P Mrs mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Byth Elsie Frances 1890-1988 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Williams Dorrie 1895-1987 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

McMaster Val mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Cragg 1922 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Massey Jessie 1865-1923 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Massey Jessie 1865-1923 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Love Lesley 1886-1955 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Brett Fanny 1860-1949 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Lovelock Gloria 1906-1995 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Southwick Nellie 1884-1936 mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Irving Lillian mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Hutchinson Daisy mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Jones Mervyn Miss mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Scriven Isabel mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Astley Charles mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Fell Gladys mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Flower A L mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Brennan Dorothy mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Lawrence Mary mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Nosworthy Daisy mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

O’Reilly Maud mentionedview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The founding years of the Harvey School pottery 1916-1922: completing the story. Article by Glenn R. Crooke, pp 6-15, with 28 illustrations.

Rodius Charlesview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
Charles Rodius, Convict Artist, by Robert Stevens, pp17-42 with 42 illustrations. An extensive essay with 134 endnotes.

Parker Haroldview full entry

Reference: see Australiana magazine, February, 2020, vol 42, no 1:
The Buck Jumper, an early sculpture by Harold Parker, article by Adam Free. pp43-53 extensive article with 58 endnotes

portraitsview 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

Bot G Wview 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 -

Boyd Arthurview 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 -

Buvelot Louisview 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 -

Chevalier Nicholasview 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 -

Cope Meganview 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 -

von Guerard Eugeneview 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 -

Ishak Raafatview 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 -

MacLeod Euanview 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 -

Perceval Johnview 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 -

Poliness Kerrieview 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 -

Sayers Andrewview 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 -

Teague Violetview 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 -

Tucker Albertview 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 -

Flesh + Blood view full entry

Reference: see 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

Bourke Governor family treeview full entry

Reference: see 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

King Governor view full entry

Reference: see 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

Meeks Aronie Raymondview full entry

Reference: see 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.

Sheezel Debbieview full entry

Reference: see 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.

Bessant Leoniview full entry

Reference: see 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.

Dall’ava Augustineview full entry

Reference: see 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.

Gurvich Raphaelview full entry

Reference: see 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.

Makigawa Akioview full entry

Reference: see 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.

Howson Nickview full entry

Reference: see 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.

OnusLinview full entry

Reference: see 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.

James Simonview full entry

Reference: see 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.

Tjapanagka Long Tomview full entry

Reference: see 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.

Tjapaltjari Cassidy Possumview full entry

Reference: see 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.

Stockman Albyview full entry

Reference: see 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.

Mpetyane Lindsay Birdview full entry

Reference: see 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.

Blanasi Davidview full entry

Reference: see 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.

Preston Robertview full entry

Reference: see 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.

Nolan Sidneyview full entry

Reference: see 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.

Kennedy Peterview full entry

Reference: see 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.

Sambono Maritaview full entry

Reference: see 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.

Ngulfundi Benignaview full entry

Reference: see 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.

Kumbi Graceview full entry

Reference: see 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.

Jugadai Daisy Napaltjarriview full entry

Reference: see 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.

Landers Gordonview full entry

Reference: see 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.

Norris Kathrynview full entry

Reference: see 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.

Isaacs Jenniferview full entry

Reference: see 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.

Hollieview full entry

Reference: see 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.

Sabatino Cerefinoview full entry

Reference: see 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.

Saunders Zaneview full entry

Reference: see 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.

Killick Stephenview full entry

Reference: see 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.

Bullin Bindurview full entry

Reference: see 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.

Karlumbulview full entry

Reference: see 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.

Cole Peter Dview full entry

Reference: see 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.

Woldendorp Richardview full entry

Reference: see 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.

Daws Lawrenceview full entry

Reference: see 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.

Thancoupieview full entry

Reference: see 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.

Trupperbaumer Benview full entry

Reference: see 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.

Kitching Mikeview full entry

Reference: see 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.

Prest Cedarview full entry

Reference: see 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.

Leach-Jones Alunview full entry

Reference: see 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.

Tungatalum Bedeview full entry

Reference: see 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.

Slater Raoul and Peterview full entry

Reference: see 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.

Morcombe Michaelview full entry

Reference: see 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.

Boyd Arthurview full entry

Reference: see 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.

van Nunen Davidview full entry

Reference: see 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.

Javer Peterview full entry

Reference: see 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.

Marrgulu Andrewview full entry

Reference: see 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.

Heany Colinview full entry

Reference: see 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.

Koolpinyahview full entry

Reference: see 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.

Kumbie Gracieview full entry

Reference: see 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.

Crooke Rayview full entry

Reference: see 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.

Marika Dhuwarrwarrview full entry

Reference: see 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.

Bulunbulun Johnnyview full entry

Reference: see 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.

Yulidjirr Thompsonview full entry

Reference: see 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.

Maralngurra Gabrielview full entry

Reference: see 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.

Maralngurra Roderickview full entry

Reference: see 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.

Orsto Maria Josetteview full entry

Reference: see 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.

Nadjamerrek Bardayalview full entry

Reference: see 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.

Napangardi Euniceview full entry

Reference: see 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.

Tjapaltarri Clifford Possumview full entry

Reference: see 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.

Cooley Billyview full entry

Reference: see 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.

Tjupurrula Dick Pantimatjuview full entry

Reference: see 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.

Wolseley Johnview full entry

Reference: see 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.

Maguire Timview full entry

Reference: see 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.

Wara Billyview full entry

Reference: see 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.

Reclaimedview full entry

Reference: Reclaimed - Contemporary Australian Art, an exhibition of contemporary Indigenous art at the Bathurst Regional Art Gallery, 7 October - 20 November 2011. Curated by Richard Perram, Reclaimed features work by seven leading contemporary Indigenous Australian artists. Catalogue featuring an essay by Daniel Browning includes brief biographies on the artists.
Publishing details: Bathurst Regional Art Gallery, 2011, pb, 20pp
Ref: 138

Aboriginal art Contemporaryview full entry

Reference: Reclaimed - Contemporary Australian Art, an exhibition of contemporary Indigenous art at the Bathurst Regional Art Gallery, 7 October - 20 November 2011. Curated by Richard Perram, Reclaimed features work by seven leading contemporary Indigenous Australian artists. Catalogue featuring an essay by Daniel Browning includes brief biographies on the artists.
Publishing details: Bathurst Regional Art Gallery, 2011, pb, 20pp

Contemporary Aboriginal art view full entry

Reference: Reclaimed - Contemporary Australian Art, an exhibition of contemporary Indigenous art at the Bathurst Regional Art Gallery, 7 October - 20 November 2011. Curated by Richard Perram, Reclaimed features work by seven leading contemporary Indigenous Australian artists. Catalogue featuring an essay by Daniel Browning includes brief biographies on the artists.
Publishing details: Bathurst Regional Art Gallery, 2011, pb, 20pp

Browning Danielview full entry

Reference: Reclaimed - Contemporary Australian Art, an exhibition of contemporary Indigenous art at the Bathurst Regional Art Gallery, 7 October - 20 November 2011. Curated by Richard Perram, Reclaimed features work by seven leading contemporary Indigenous Australian artists. Catalogue featuring an essay by Daniel Browning includes brief biographies on the artists.
Publishing details: Bathurst Regional Art Gallery, 2011, pb, 20pp

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