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

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Allport Mary Morton mentioned p185-6view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Fereday Susan mentioned p185view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Walker Anna Frances mentioned p185view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Meredith Louisa Anne p185-6view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Burgess Mrs p186view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Collins Miss shell work p189view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Luckman Mrs wax models p189view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Newitt Mary crewel work pictures p189view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Newitt Emily banner screens p189view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Smith Catherine embroidery p189view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
White Miss Francis embroidery p189view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Scott Jemima 1864-1963 nee Stormont embroidery p1913 illustrationsview full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Stormont Jemima later Scott embroidery p191 illustration see Scott Jemimaview full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Henry Lucien mentioned p 192view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Dechaineux Lucien mentioned p 192view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Lovett Mildred mentioned p 194view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Poynter Maude mentioned p 194view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Payne Ellen Nora mentioned p 194view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Wilson Ada Grey mentioned p 194view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Mault Patty mentioned p 194view full entry
Reference: see Tasmanian Floral Embroideries by Glenda King in Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Cummings Will banner painter 1892 p201view full entry
Reference: see Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Harris & Watts sign and banner painters 1890s p202view full entry
Reference: see Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Watts see Harris & Watts sign and banner painters 1890s p202view full entry
Reference: see Treasures of the Queen Victoria Museum and Art Gallery [Launceston, Tasmania]. [’This glorious book in full colour showcases a number of treasures chosen from the many thousands now cared for at the museum, signifying how important the museum is to Australian history. ‘]
Publishing details: Queen Victoria Museum & Art Gallery, 2006
Australian Artware Potteryview full entry
Reference: Australian Artware Pottery by William Hall and Dorothy Hall
Publishing details: Golden Square: Crown Castleton (1996), colour and black and white illustrations, Illustrated stapled wrappers,
Ref: 1009
potteryview full entry
Reference: see Australian Artware Potteryby William Hall and Dorothy Hall
Publishing details: Golden Square: Crown Castleton (1996), colour and black and white illustrations, Illustrated stapled wrappers,
ceramicsview full entry
Reference: see Australian Artware Potteryby William Hall and Dorothy Hall
Publishing details: Golden Square: Crown Castleton (1996), colour and black and white illustrations, Illustrated stapled wrappers,
Colonial Bendigoview full entry
Reference: Colonial Bendigo. Compiled by Doug Hall and Frank Cusack. Includes short biographies of artists in the exhibition at Bendigo Art Gallery, December 1984 - February, 1985.
Publishing details: Bendigo Art Gallery, 1985, p24, Illustrated stapled wrappers,
Ref: 140
Brush With History Aview full entry
Reference: A Brush With History: The Painter's Union & The Australian Labour Movement. [’The Operative Painters & Decorators Union Of Australia (OPDUA) was an important player in our national building and construction industry for over 100 years. This book documents its history of the complex web of relationships between workers, their bosses, their union representatives and the communist party.’]
Publishing details: Hyland House Melbourne 1994, 1994. 25.0 x 18.5cms, 186pp, b/w & Colour Illust. Hardback & dustwrapper
Painter's Unionview full entry
Reference: see A Brush With History: The Painter's Union & The Australian Labour Movement. [’The Operative Painters & Decorators Union Of Australia (OPDUA) was an important player in our national building and construction industry for over 100 years. This book documents its history of the complex web of relationships between workers, their bosses, their union representatives and the communist party.’]
Publishing details: Hyland House Melbourne 1994, 1994. 25.0 x 18.5cms, 186pp, b/w & Colour Illust. Hardback & dustwrapper
Painters & Decorators Union Of Australiaview full entry
Reference: see A Brush With History: The Painter's Union & The Australian Labour Movement. [’The Operative Painters & Decorators Union Of Australia (OPDUA) was an important player in our national building and construction industry for over 100 years. This book documents its history of the complex web of relationships between workers, their bosses, their union representatives and the communist party.’]
Publishing details: Hyland House Melbourne 1994, 1994. 25.0 x 18.5cms, 186pp, b/w & Colour Illust. Hardback & dustwrapper
Connelly-Northey Lorraineview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
George Teelahview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Iqbal Mehwishview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Noble Aliview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Meuwissen Louiseview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Ormella Raquelview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Plummer Katy Bview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Shanahan Rebeccaview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Smart Sallyview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Tango Hiromiview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
Tjanpi Desert Weaversview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
West Katieview full entry
Reference: see Spectrum, Sydney Morning Herald, article ‘Fabric of life’ by Chloe Wolifson, June 27-8, 2020, p6-8 includes a brief report on 11 textile artists.
Publishing details: Spectrum, Sydney Morning Herald, June 27-8, 2020,
jewellery - 19th and Early 20th Centuryview full entry
Reference: see Australian Jewellery - 19th and Early 20th Century by Anne Schofield and Kevin Fahy [to be indexed fully - the directory of ‘Australian jewellers and designers has been indexed]
Publishing details: David Ell Press, 1990, hc, dw, 286pp
Jewellery Arts & Crafts ( item 110 - 125)view full entry
Reference: see Josef Lebovic Collectors’ List 156, 2012
Jewelleryview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations.
jewellery goldfields view full entry
Reference: see Jewels on Queen by Anne Schofield. Includes chapter on Australian jewellery. [’Ancient Roman engraved rings, eye miniature love tokens, an Art Deco aquamarine and diamond brooch ... Anne Schofield unlocks the cabinets in her exclusive Sydney antique jewellery shop in Queen Street, Woollahra and reveals the favourite pieces of jewellery she has bought, sold and collected over 50 years. From world-famous designers to eccentric collectors, in this very personal book Australia's best-known antique jewellery expert shares the fascinating stories behind a stunning array of jewellery.’]
Publishing details: NewSouth Publishing, 2014 
hc, dw, 151 pages : colour illustrations ; 19 cm 
Whitehead Francis view full entry
Reference: see Antiques & Art in Queensland, March - July 2006 (a six-monthly publication). Article on and exhibition titled ‘Portrait of Ipswich’ at the Ipswich City Gallery, including a five-panel photographic panorama of colonial Ipswich by Poochee and photographs by Francis Whitehead to whom Poochee sold his studio. Whitehead Studio continues today.
Publishing details: Antiques & Art in Queensland, July 2006
Angas George French view full entry
Reference: see The Conversation, June 30, 2020 ‘Portrait of Hemi Pomara as a young man: how we uncovered the oldest surviving photograph of a Māori’ by Elisa deCourcy and Martyn Jolly:
‘It is little wonder the life of Hemi Pomara has attracted the attention of writers and film makers. Kidnapped in the early 1840s, passed from person to person, displayed in London and ultimately abandoned, it is a story of indigenous survival and resilience for our times.
Hemi has already been the basis for the character James Pōneke in New Zealand author Tina Makereti’s 2018 novel The Imaginary Lives of James Pōneke. And last week, celebrated New Zealand director Taika Waititi announced his production company Piki Films is adapting the book for the big screen – one of three forthcoming projects about colonisation with “indigenous voices at the centre”.
Until now, though, we have only been able to see Hemi’s young face in an embellished watercolour portrait made by the impresario artist George French Angas, or in a stiff woodcut reproduced in the Illustrated London News.
Drawing on the research for our forthcoming book, Empire, Early Photography and Spectacle: the global career of showman daguerreotypist J.W. Newland (Routledge, November 2020), we can now add the discovery of a previously unknown photograph of Hemi Pomara posing in London in 1846.
This remarkable daguerreotype shows a wistful young man, far from home, wearing the traditional korowai (cloak) of his chiefly rank. It was almost certainly made by Antoine Claudet, one of the most important figures in the history of early photography.
All the evidence now suggests the image is not only the oldest surviving photograph of Hemi, but also most probably the oldest surviving photographic portrait of any Māori person. Until now, a portrait of Caroline and Sarah Barrett taken around 1853 was thought to be the oldest such image.
For decades this unique image has sat unattributed in the National Library of Australia. It is now time to connect it with the other portraits of Hemi, his biography and the wider conversation about indigenous lives during the imperial age.
A boy abroad
Hemi Pomara led an extraordinary life. Born around 1830, he was the grandson of the chief Pomara from the remote Chatham Islands off the east coast of New Zealand. After his family was murdered during his childhood by an invading Māori group, Hemi was seized by a British trader who brought him to Sydney in the early 1840s and placed him in an English boarding school.
The British itinerant artist, George French Angas had travelled through New Zealand for three months in 1844, completing sketches and watercolours and plundering cultural artefacts. His next stop was Sydney where he encountered Hemi and took “guardianship” of him while giving illustrated lectures across New South Wales and South Australia.
Angas painted Hemi for the expanded version of this lecture series, Illustrations of the Natives and Scenery of Australia and New Zealand together with 300 portraits from life of the principal Chiefs, with their Families.
In this full-length depiction, the young man appears doe-eyed and cheerful. Hemi’s juvenile form is almost entirely shrouded in a white, elaborately trimmed korowai befitting his chiefly ancestry.
The collar of a white shirt, the cuffs of white pants and neat black shoes peak out from the otherwise enveloping garment. Hemi is portrayed as an idealised colonial subject, civilised yet innocent, regal yet complacent.
Angas travelled back to London in early 1846, taking with him his collection of artworks, plundered artefacts – and Hemi Pomara.
Hemi appeared at the British and Foreign Institution, followed by a private audience with Queen Victoria and Prince Albert. From April 1846, he was put on display in his chiefly attire as a living tableau in front of Angas’s watercolours and alongside ethnographic material at the Egyptian Hall, London.
The Egyptian Hall “exhibition” was applauded by the London Spectator as the “most interesting” of the season, and Hemi’s portrait was engraved for the Illustrated London News. Here the slightly older-looking Hemi appears with darkly shaded skin and stands stiffly with a ceremonial staff, a large ornamental tiki around his neck andA photographic pioneer
Hemi was also presented at a Royal Society meeting which, as The Times recorded on April 6, was attended by scores of people including Charles Dickens, Charles Darwin, and the pioneering London-based French daguerreotypist Antoine Claudet.
It was around this time Claudet probably made the quarter-plate daguerreotype, expertly tinted with colour, of Hemi Pomara in costume.
The daguerreotype was purchased in the 1960s by the pioneering Australian photo historian and advocate for the National Library of Australia’s photography collections, Eric Keast Burke. Although digitised, it has only been partially catalogued and has evaded attribution until now.
Unusually for photographic portraits of this period, Hemi is shown standing full-length, allowing him to model all the features of his korowai. He poses amidst the accoutrements of a metropolitan portrait studio. However, the horizontal line running across the middle of the portrait suggests the daguerreotype was taken against a panelled wall rather than a studio backdrop, possibly at the Royal Society meeting.
Hemi has grown since Angas’s watercolour but the trim at the hem of the korowai is recognisable as the same garment worn in the earlier painting. Its speckled underside also reveals it as the one in the Illustrated London News engraving.
Hemi wears a kuru pounamu (greenstone ear pendant) of considerable value and again indicative of his chiefly status. He holds a patu onewa (short-handled weapon) close to his body and a feathered headdress fans out from underneath his hair.
We closely examined the delicate image, the polished silver plate on which it was photographically formed, and the leatherette case in which it was placed. The daguerreotype has been expertly colour-tinted to accentuate the embroidered edge of the korowai, in the same deep crimson shade it was coloured in Angas’s watercolour.
an upright, feathered headdress.
The remainder of the korowai is subtly coloured with a tan tint. Hemi’s face and hands have a modest amount of skin tone colour applied. Very few practitioners outside Claudet’s studio would have tinted daguerreotypes to this level of realism during photography’s first decade.
Hallmarks stamped into the back of the plate show it was manufactured in England in the mid-1840s. The type of case and mat indicates it was unlikely to have been made by any other photographer in London at the time.
Survival and resilience
After his brief period as a London “celebrity” Hemi went to sea on the Caleb Angas. He was shipwrecked at Barbados, and on his return aboard the Eliza assaulted by the first mate, who was tried when the ship returned to London. Hemi was transferred into the “care” of Lieutenant Governor Edward John Eyre who chaperoned him back to New Zealand by early December 1846.
Hemi’s story is harder to trace through the historical record after his return to Auckland in early 1847. It’s possible he returned to London as an older married man with his wife and child, and sat for a later carte de visite portrait. But the fact remains, by the age of eighteen he had already been the subject of a suite of colonial portraits made across media and continents.
With the recent urgent debates about how we remember our colonial past, and moves to reclaim indigenous histories, stories such as Hemi Pomara’s are enormously important. They make it clear that even at the height of colonial fetishisation, survival and cultural expression were possible and are still powerfully decipherable today.
For biographers, lives such as Hemi’s can only be excavated by deep and wide-ranging archival research. But much of Hemi’s story still evades official colonial records. As Taika Waititi’s film project suggests, the next layer of interpretation must be driven by indigenous voices.

The authors would like to acknowledge the late Roger Blackley (Victoria University, Wellington), Chanel Clarke (Curator of the Maori collections, Auckland War Memorial Museum), Nat Williams (former Treasures Curator, National Library of Australia), Dr Philip Jones (Senior Curator, South Australian Museum) and Professor Geoffrey Batchen (Professorial chair of History of Art, University of Oxford) for their invaluable help with their research.’



Tetley Capt Joseph Swabey 1778-1828view full entry
Reference: see Forum Auctions, 09 Jun 2020, lot 157:
Australia.- Tetley (Captain Joseph Swabey, Colonial naval officer and artist, 1778-1828), attributed to. Album of 12 drawings of Australian Aborigines, possibly after an original set of drawings once owned by George Charles Jenner (active 1805-1822), watercolours with brush and ink on 'Buttanshaw' wove paper, two sheets watermarked with date '1804', each album leaf approx. 218 x 170 mm. (8 ½ x 6 ¾ in), minor surface dirt, with bookplate of William Rashleigh tipped in from previous album, and Rashleigh ink inscription to first watercolour that reads: 'Natives of Australia/ by Capt. Tetley taken on the spot/ Wm. R.', half calf with blue cloth boards, spine gilt, sm. 4to, [c. 1806].

Provenance:
William Rashleigh (1777-1855);
Possibly the Rashleigh Family auction, of Menabilly, nr. Fowey, Cornwall, [c.1940s];
Anonymous sale;
James Stevens Cox; then by descent

Literature:
Stevens Cox, J., editor, 'Australian Aborigines drawn from life/ by Captain Tetley, c. 1805', Toucan Press, 1977

⁂ An important early document showing Australian Aborigines engaged in traditional pursuits.

Captain Tetley was first lieutenant under Captain Joseph Short on board HMS Porpoise, the ship that brought Governor William Bligh to Sydney in August 1806; following a disagreement with Captain Scott, Tetley eventually left Sydney in 1807.

Two other albums with duplicate examples of the watercolours found in the present Rashleigh album are known. Both are held in the Mitchell Library, New South Wales [see DGB 10 and PXB 513]. Of these two albums one bears the signature of George Charles Jenner, who was once thought to be the artist, but now more likely only a previous owner [PXB 513]. The Mitchell Library has suggested that the watercolours in this set are the "originals", which were drawn from life at Botany Bay as stated on the inside back cover. As such the present album likely consists of contemporary duplicates, possibly by Tetley himself; a practice common at the time in order to produce a "fair copy" record. There are some minor differences between the sets that uphold this suggestion, including a total lack of under-drawing, but most notable is the addition of drapery covering the exposed genitalia of several of the Aborigines, which is found only in the Rashleigh copy.
Rashleigh William collectorview full entry
Reference: see Forum Auctions, 09 Jun 2020, lot 157:
Australia.- Tetley (Captain Joseph Swabey, Colonial naval officer and artist, 1778-1828), attributed to. Album of 12 drawings of Australian Aborigines, possibly after an original set of drawings once owned by George Charles Jenner (active 1805-1822), watercolours with brush and ink on 'Buttanshaw' wove paper, two sheets watermarked with date '1804', each album leaf approx. 218 x 170 mm. (8 ½ x 6 ¾ in), minor surface dirt, with bookplate of William Rashleigh tipped in from previous album, and Rashleigh ink inscription to first watercolour that reads: 'Natives of Australia/ by Capt. Tetley taken on the spot/ Wm. R.', half calf with blue cloth boards, spine gilt, sm. 4to, [c. 1806].

Provenance:
William Rashleigh (1777-1855);
Possibly the Rashleigh Family auction, of Menabilly, nr. Fowey, Cornwall, [c.1940s];
Anonymous sale;
James Stevens Cox; then by descent

Literature:
Stevens Cox, J., editor, 'Australian Aborigines drawn from life/ by Captain Tetley, c. 1805', Toucan Press, 1977

⁂ An important early document showing Australian Aborigines engaged in traditional pursuits.

Captain Tetley was first lieutenant under Captain Joseph Short on board HMS Porpoise, the ship that brought Governor William Bligh to Sydney in August 1806; following a disagreement with Captain Scott, Tetley eventually left Sydney in 1807.

Two other albums with duplicate examples of the watercolours found in the present Rashleigh album are known. Both are held in the Mitchell Library, New South Wales [see DGB 10 and PXB 513]. Of these two albums one bears the signature of George Charles Jenner, who was once thought to be the artist, but now more likely only a previous owner [PXB 513]. The Mitchell Library has suggested that the watercolours in this set are the "originals", which were drawn from life at Botany Bay as stated on the inside back cover. As such the present album likely consists of contemporary duplicates, possibly by Tetley himself; a practice common at the time in order to produce a "fair copy" record. There are some minor differences between the sets that uphold this suggestion, including a total lack of under-drawing, but most notable is the addition of drapery covering the exposed genitalia of several of the Aborigines, which is found only in the Rashleigh copy.
Jenner George Charles collector and possibly artistview full entry
Reference: see Forum Auctions, 09 Jun 2020, lot 157:
Australia.- Tetley (Captain Joseph Swabey, Colonial naval officer and artist, 1778-1828), attributed to. Album of 12 drawings of Australian Aborigines, possibly after an original set of drawings once owned by George Charles Jenner (active 1805-1822), watercolours with brush and ink on 'Buttanshaw' wove paper, two sheets watermarked with date '1804', each album leaf approx. 218 x 170 mm. (8 ½ x 6 ¾ in), minor surface dirt, with bookplate of William Rashleigh tipped in from previous album, and Rashleigh ink inscription to first watercolour that reads: 'Natives of Australia/ by Capt. Tetley taken on the spot/ Wm. R.', half calf with blue cloth boards, spine gilt, sm. 4to, [c. 1806].

Provenance:
William Rashleigh (1777-1855);
Possibly the Rashleigh Family auction, of Menabilly, nr. Fowey, Cornwall, [c.1940s];
Anonymous sale;
James Stevens Cox; then by descent

Literature:
Stevens Cox, J., editor, 'Australian Aborigines drawn from life/ by Captain Tetley, c. 1805', Toucan Press, 1977

⁂ An important early document showing Australian Aborigines engaged in traditional pursuits.

Captain Tetley was first lieutenant under Captain Joseph Short on board HMS Porpoise, the ship that brought Governor William Bligh to Sydney in August 1806; following a disagreement with Captain Scott, Tetley eventually left Sydney in 1807.

Two other albums with duplicate examples of the watercolours found in the present Rashleigh album are known. Both are held in the Mitchell Library, New South Wales [see DGB 10 and PXB 513]. Of these two albums one bears the signature of George Charles Jenner, who was once thought to be the artist, but now more likely only a previous owner [PXB 513]. The Mitchell Library has suggested that the watercolours in this set are the "originals", which were drawn from life at Botany Bay as stated on the inside back cover. As such the present album likely consists of contemporary duplicates, possibly by Tetley himself; a practice common at the time in order to produce a "fair copy" record. There are some minor differences between the sets that uphold this suggestion, including a total lack of under-drawing, but most notable is the addition of drapery covering the exposed genitalia of several of the Aborigines, which is found only in the Rashleigh copy.
Goodall Williamview full entry
Reference: see Trillium Antique Prints & Rare Books, USA, May 30, 2020, Lot 19325: Goodall, Original Watercolor - Brush-tailed Opossum, Native to Australia:

This is an original watercolor by William Goodall from his extensive, life-time collection of animal drawings. He captioned each with Linnaean classification and other information relative to the animal on the page. Each watercolor or pen-and-ink drawing is on woven paper and is signed by Goodall. The watermarks that are present date between 1794 and 1833. Goodall completed these in Dinton, Buckinghamshire, England.

William Goodall was educated at Eton, became an ordained priest of the Church of England and served as absentee rector at All Saints Church, Marsham, near Aylsham in Norfolk from 1787-1844. In 1788, he married the sole heiress of Dinton Hall, Buckinghamshire, making him lord of the manor and a Justice of the Peace for Bucks. Painting was a life-long hobby. His brother Joseph Goodall (1760-1840), long-time Provost of Eton, was a noted collector of natural history drawings and friend of William Swainson. Their shared passion suggest that the Goodall brothers were educated at an early age in both natural history and the fine arts.

The animals he depicted include species from all over the world, including more exotic animals from Africa, Asia, Australia and the Americas. Many of the images are identified as derivative of printed sources, including the Zoological Journal, Shaw, Edwards, Pennant, Temminck, Ruppel, Leach and others; however, others are labelled as having been done from specimens at Dinton. "William had no access to live whales or the larvae of foreign butterflies, so that he must have copied many of his paintings from printed works. This does not mean that he copied all of them. Some are probably original or partly original. Many paintings suggest observations on live or newly caught organisms ... Even paintings known to have been copied contain corrections or some new element to improve the presentation" (Locke & Collins).

"William lived in a more leisurely age when the only way to create a visual archive was to paint, much as we might now collect photographs. His pursuit of images probably satisfied his inclination to paint, to collect and to study natural history combined in the one activity. He was following in the footsteps of Sir Hans Sloane ... He thus created his personal museum, a good part of which was a paper museum." (Locke & Collins)
Dimensions
~ 7 3/4" by 12 3/4"
Artist or Maker
William Goodall
Medium
Original Watercolor
Date
1794-1833
Condition Report
The watercolors are in very good to excellent condition overall. There may be a few minor imperfections to expect with age. Each image was drawn to the edges of the paper. Please review the image carefully for condition and contact us with any questions.

Tetley Captain Joseph Swabey 1778-1828view full entry
Reference: Australian aborigines drawn from life by Captain Tetley c.1805, edited by J. Stevens Cox.


Publishing details: St. Peter Port, Channel Islands : Toucan Press, 1977. [12] leaves, all facs.
Ref: 1000
Sculptureview full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Ashby Arthur view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Broad Rodney view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Cole Peter Dview full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Cole-Adams Brigid view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Esson Michael view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Feddersen Jutta view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Gardner John view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Gazzard Marea view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Greenwood Garry view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Hasell Anton view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Henderson Joy view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Johns Greg view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Jonsson Ted view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

King Inge view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Kuczynska Maria view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

MacCallum Polly view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

McKean Alexis view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Michael Nichollsview full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Noakes Roger view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Oliver Leslie view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Parr Robert view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Plummer Lyn view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Raft Emanuel view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Randall Peter view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Reaney Ann-Maree view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Reaney Colin view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Reaney Colin view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Rogers James view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Ryder Mona view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Schulze Manne view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Skillitzi Stephen view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Stimson Mary view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Sweet Alick view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Tilley Peter view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Trembath Tony view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Trethewey Stephen view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Turcu George view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Turier John view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Valamanesh Hossein view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Weekes Trevor view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Williams Liz view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Wollmering Dan view full entry
Reference: see New sculpture : profiles in contemporary Australian sculpture, edited by Neville Drury. Includes biographical essays on 40 sculptors with illustrations of their work. Also includes a bibliography and a list of one-person exhibitions for each sculptor.
Publishing details: Sydney : Craftsman House, 1993. Quarto, boards in dustjacket, pp. 186, illustrated.

Place for Art Aview full entry
Reference: A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.
Artists: Newell Harry, Noel McKenna, Pat Harry, Roy Kennedy, Gambinya Thelma Burke, Ray Munyal, Lena Skinner Ngala, Rod Moss, Tracey Moffatt, Cherine Fahd, Peter Cooley, Ronnie van Hout, Roy Dalgarno, Belinda Fox, Paula Rego, Peter Blake, Derek Kreckler, Julian Twigg, William Forster, Herbert Gallop, Frank Nowlan, David Manks, Patrick Caulfield, Jelle van der Berg, Joan Ross, Mark Osland, Lloyd Rees, Diana Wood Conroy, Tony Ameneiro, Ian Gentle, Destiny Deacon, James Gleeson, Richard Hook, Laurence Aberhart, Paul Higgs, Ron Lambert, Liz Jeneid, Alan Peascod, William Peascod, Gino Sanguineti, Ivan Englund, Gloria Petyarre, Elwyn Lynn, Ann Thomson, John Stockdale, Simon Blau, Bert Flugelman, Col Jordan, David (Yin-Wei) Chen, Nancy Gaymala Yunupingu, Sambo Barra Barra, Salvatore Zofrea, Phyllis Stewart, Lila Lawrence, Gabriella & Silvana Mangano, Michael Callaghan & Mary Callaghan (Redback Graphix).’]

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Warren Guy mentioned or work illustrated p9 p22view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Cummings Elisabeth mentioned or work illustratedview full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Elyard Samuel mentioned or work illustrated p14-15view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Collingridge Arthur de Tourcey mentioned or work illustrated p12-13view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Flugelman Bert discussed or work illustrated p2 p69view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Barrie May mentioned or work illustrated p11view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Kngwarreye Emily Kame mentioned or work illustratedview full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Cowie Edward mentioned p11view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Twigg Julian mentioned or work illustrated p12 p42view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Barkley Glenn mentioned p11view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Balez Didier mentioned p11view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Eveleigh John mentioned p11-14view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Redback Graphix mentioned or work illustrated p21-2view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Callaghan Michael mentioned or work illustrated p21-2 p78view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Dalgarno Roy mentioned or work illustratedview full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Gallop Herbert mentioned or work illustrated p15 p43view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
McKenna Noel mentioned or work illustrated p16view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Englund Ivan mentioned or work illustrated p17 p63view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Peascod William mentioned or work illustrated p17 p61view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Sanguineti Gino mentioned or work illustrated p17 p60view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Lambert Ron mentioned or work illustrated p17view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Brassil Joan mentioned or work illustrated p17view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Harry Pat mentioned or work illustrated p17view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Jordon Col mentioned or work illustrated p17 p71view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Lynn Elwyn mentioned or work illustrated p17 p65view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Zofrea Salvatore mentioned or work illustrated p17 p74view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Thomson Ann mentioned or work illustrated p17 p66view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Fahd Cherine mentioned or work illustrated p17-18view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
van Hout Ronnie mentioned or work illustrated p17-17view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Cooley Peter mentioned or work illustrated p17-18view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Deacon Destiny mentioned or work illustrated p18view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Watson Jenny mentioned or work illustrated p18view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Moffatt Tracy mentioned or work illustrated p18 35view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Ross Joan mentioned or work illustrated p19 p48view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Hookey Gordon mentioned or work illustrated p19-20view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Nowlan Frank mentioned or work illustrated p19-20 p44view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Moss Rod mentioned or work illustrated p19-20 p34view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Quail Avril mentioned or work illustrated p21view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Hall Basil printmaker mentioned or work illustrated p22view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Redhand Print mentioned or work illustrated p22view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Duck Print mentioned or work illustrated p23view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Gilbert Kevin mentioned or work illustrated p23view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Yunupingu Nancy Gaymala mentioned or work illustrated p23 p72view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Murray Julia mentioned or work illustrated p23view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Timbery Esme mentioned or work illustrated p24view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Stewart Phyllis mentioned or work illustrated p24 p75view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Brown Lorraine mentioned or work illustrated p24view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Abdullah Ian mentioned or work illustrated p24view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Kennedy Roy mentioned or work illustrated p24 p30view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Osland Mark mentioned or work illustrated p24 p49view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Redgate Jackie mentioned or work illustrated p25-6view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Conroy Wood mentioned or work illustrated p26 p51view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Jeneid Liz mentioned or work illustrated p26 p60view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Kreckler Dereck mentioned or work illustrated p26view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
van den Berg Jelle mentioned or work illustrated p26view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Hook Richard mentioned or work illustrated p26 p56view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Gentle Ian mentioned or work illustrated p26view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Gentle Ian mentioned or work illustrated p26 p52-3view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Burke Gambinya Thelma mentioned or work illustrated p31view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Munyal Roy mentioned or work illustrated p31view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Ngala Lena Skinner mentioned or work illustrated p31view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Fox Belinda mentioned or work illustrated p39view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Blake Peter mentioned or work illustrated p40view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Forster William 1889 mentioned or work illustrated p43view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Manks David mentioned or work illustrated p45view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Rees Lloyd discussed and work illustrated p50view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Gleeson James discussed and work illustrated p55view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Aberhart Laurence mentioned or work illustrated p57view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Higgs Paul discussed and work illustrated p58view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Lambert Ron discussed and work illustrated p59view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Peascod Alan mentioned or work illustrated p17 p60view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Petyarre Gloria mentioned or work illustrated p17 p64view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Thomson Ann mentioned or work illustrated p17 p66view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Stockdale John mentioned or work illustrated p67view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Blau Simon mentioned or work illustrated p68view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Jordon Col mentioned or work illustrated p17 p71view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Barra Barra Sambo mentioned or work illustrated p73view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Lawrence Lila mentioned or work illustrated p76view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
Mangano sisters Gabriella and Silvana discussed or work illustrated p77view full entry
Reference: see A place for art : the University of Wollongong art collection / author, Amanda Lawson. [’This 80 page publication featuring 71 full colour reproductions of artworks celebrates the development of the University of Wollongong Art Collection (UOWAC). A Place for Art, the latest publication from University of Wollongong Press, charts the 40 year history of the UOWAC, arguably one of the most accessible and diverse public art collections in the country. The book's editor and Art Collection Director, Professor Amanda Lawson, says the publication is an opportunity to provide a sense of the University rich and unique Collection. 2 Woven into the fabric of campus life, art infuses the experience of being at UOW. The Art Collection brings spaces alive and inspires the individuals who inhabit them: the University is truly a place for art,3 says Professor Lawson. A Place for Art celebrates the Art Collection's development and focuses on images selected from the UOWAC's specialist areas which include works with a regional connection, Australian indigenous works on paper and international prints. The publication also highlights the personal connections people can make with art that is incorporated into their everyday environment.

Publishing details: University of Wollongong Press, 2012, 80 pages : colour illustrations, portraits ; 28 cm 
New Triad Theview full entry
Reference: The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Ref: 1000
McCrae Hughview full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Lindsay Normanview full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Wilcox Dora view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Croll R H view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Souter D H view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Lawlor Adrian view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Feint Adrian view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
White Unk view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Lindsay Percy view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Gye Hal view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
O’Harris Pixie view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Lindsay Peter view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Lindsay Lionel view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Dyson Will view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Moore William view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Fullwood A Henry view full entry
Reference: see The New Triad. Vol. 1, No. 1 – Vol. 2, No. 7, twelve issues, complete. [to be indexed fully]
[from Douglas Stewart Fine Books 2020: ‘A stunning Australian monthly literary periodical notable for its fine art deco illustrated wrappers by women artists including Bertha Sloane, Ruth E. Massey, Mahdi McCrae (the poet’s daughter) and Phil (Phyllis) McLachlan. The short stories and verse (mostly written exclusively for The New Triad) include pieces by Hugh McCrae, Dora Wilcox, R. H. Croll, Vance Palmer, D. H. Souter and Adrian Lawlor, illustrated by Adrian Feint, Unk White, Percy Lindsay, Hal Gye, Pixie O’Harris and Peter Lindsay amongst others. Articles by artists such as Lionel Lindsay, Will Dyson, William Moore and  A. Henry Fullwood are complemented by articles on architecture, motoring, politics, literature, music, and sporting contests such as cricket test matches, horse racing and tennis. In issue 4, Hugh McCrae reviews an exhibition of Norman Lindsay at Macquarie Galleries, with a reproduction of his famous etching Enter the Magicians. Finely illustrated advertisements for luxury motor vehicles, wine, theatres, paints, liquor, ready built homes, gramophones, fashion and tourist destinations define the aspirations for the upwardly mobile middle class in Australia in the late twenties.
The Triad began as a literary newspaper in New Zealand in 1892, founded by C. N. Baeyertz, relocating to Sydney in 1915 due to the large number of subscribers across the Tasman. Briefly owned by Art in Australia, it was renamed The New Triad in 1927, the format was modernised and edited by McCrae and Watt (a part owner) in its final issues.
Complete sets of this important literary periodical are rare, and held in only a handful of Australian libraries.’]

Publishing details: Sydney : The New Triad, August 1927 – July 1928. Quarto.
Smart Jeffrey first published workview full entry
Reference: from Douglas Stewart Fine Books 2020: [JEFFREY SMART’S FIRST PUBLISHED WORK] Evening. Lino Cut by Jeff Smart. Full-page offset printed illustration, page 19 in: The Torch : Published annually by the Adelaide Teachers’ College. Vol. XXI, December, 1941. Adelaide : Printed at The Hassell Press, 1941. Small quarto, original textured paper wrappers with yapp edges (some light marks and edge wear), upper wrapper with design in blue and black; front free-endpaper with ownership signature of student M. Skinner dated 1941; pp 36, viii (advertisements), illustrated with 7 full-page reproductions of linocuts by College students Milton Hunkin (1), Ruth Mitchell (4), Rossley Coote (1), and – most significantly – final year student Jeff Smart (Jeffrey Smart, 1921-2013), whose work “Evening” reproduced on page 19 accompanies a poem with the same title by Colin Thiele on the facing page; with numerous sepia tone photographic plates of student sporting teams, and a double-page spread “Who’s Who in College, 1941” with 14 head-and-shoulder portraits of the institution’s most active students in terms of their contributions to campus activities (these include magazine editors Marcus Krieg, Colin Thiele, and Loullla Nicolaides, as well as Lourdes Hambour, Roma Musman, and Keith Smith); most of these students have signed their name in the margin beside their portrait, some with a pithy remark dedicated to “Skinny” Skinner; Smart is not among those photographed and did not sign Skinner’s copy – unsurprisingly, as he was not an enthusiastic member of the student body and would sometimes pay other students to sign the attendance book on his behalf, being far more interested in his studies at the South Australian School of Arts and Crafts, where he was enrolled concurrently. Fore-edges of leaves with spotting and a couple of ink marks, otherwise very clean throughout.
Inexplicably, the presence of the twenty-year-old student Jeff Smart’s linocut Evening in the December 1941 issue of The Torch appears to have been completely overlooked by the Australian art world. There is no mention of it in any of the major studies on the artist, and it appears never to have been reproduced in print. In fact, we can find not even a passing reference to its existence on the internet.
Although obviously in a different medium, Evening prefigures Smart’s later work through its use of space and stillness – hallmark elements of the artist’s developed painting style. 
Scarce. Trove locates only three institutional copies (University of Adelaide; State Library of South Australia; State Library of New South Wales).
Rennie Reko view full entry
Reference: Reko Rennie: Patternation

Catalogue for the Reko Rennie : Patternation exhibition held at the Kluge-Ruhe Aboriginal Art Collection Museum, University of Virginia, Charlottesville, 28 January to 4 April 2011, curated by Stephen Gilchrist; includes an essay by Stephen Gilchrist on the art of Reko Rennie with illustrations of the works Urban Aboriginal, Urban Guerrilla #1, Big Red and Shield.
The only copy recorded in Australian collections is held in the AIATSIS Library.

Publishing details: Charlottesville : Kluge-Ruhe Aboriginal Art Collection, University of Virginia, [2011]. Folded sheet, 230 x 450 mm, comprising [6] pages each 230 x 150 mm, colour illustrations;
Ref: 1000
Sasnaitis Francesca Jurate (1958 - )
view full entry
Reference: Gintaras / Amber
‘Gintaras is Lithuanian for amber. Writer and artist Sasnaitis’s family originates from Lithuania, one of the Baltic states where amber has been gathered, mined, traded and treasured since antiquity. In this collaborative artist book, amber represents the turbulent relationship between earth and air, stasis and movement, father and daughter. Sasnaitis’s text weaves between Crawford’s images of traditional Baltic textile patterns and pages of brilliantly coloured cellophane that imitate the infinite variegations of amber. The visual space of the page is by turn crowded, restrained and spacious; meaning evolves and accrues with each turn of the page’. – artist’s statement
Francesca Sasnaitis is a writer and artist. Originally from Melbourne, she now lives in Perth where she is a doctoral candidate in Creative Writing at the University of Western Australia. Her poetry, short fiction and reviews have been published online and in various print journals and anthologies.
Marian Crawford is a Melbourne based visual artist whose works explore the relationships between the book, fine art printmaking processes, and the printed image in contemporary culture. Crawford is a senior lecturer in Fine Art at Monash Art Design & Architecture, Melbourne, Australia, where she has worked for ten years.
Publishing details: Melbourne : the artist], 2019. Artist’s book (267 x 150 mm). Narrow octavo, photolithograph wrappers, pp. [22], printed letterpress, photolithographic relief prints, glassine sheets, bookmark made of Lithuanian fabric with Baltic amber pendant. Published by the artist and author in an edition of 18 signed and numbered copies.
Ref: 1000
Crawford Marian (1955 - )view full entry
Reference: see Gintaras / Amber
‘Gintaras is Lithuanian for amber. Writer Sasnaitis’s family originates from Lithuania, one of the Baltic states where amber has been gathered, mined, traded and treasured since antiquity. In this collaborative artist book, amber represents the turbulent relationship between earth and air, stasis and movement, father and daughter. Sasnaitis’s text weaves between Crawford’s images of traditional Baltic textile patterns and pages of brilliantly coloured cellophane that imitate the infinite variegations of amber. The visual space of the page is by turn crowded, restrained and spacious; meaning evolves and accrues with each turn of the page’. – artist’s statement
Francesca Sasnaitis is a writer and artist. Originally from Melbourne, she now lives in Perth where she is a doctoral candidate in Creative Writing at the University of Western Australia. Her poetry, short fiction and reviews have been published online and in various print journals and anthologies.
Marian Crawford is a Melbourne based visual artist whose works explore the relationships between the book, fine art printmaking processes, and the printed image in contemporary culture. Crawford is a senior lecturer in Fine Art at Monash Art Design & Architecture, Melbourne, Australia, where she has worked for ten years.
Publishing details: Melbourne : the artist], 2019. Artist’s book (267 x 150 mm). Narrow octavo, photolithograph wrappers, pp. [22], printed letterpress, photolithographic relief prints, glassine sheets, bookmark made of Lithuanian fabric with Baltic amber pendant. Published by the artist and author in an edition of 18 signed and numbered copies.
Meeson Doraview full entry
Reference: Catalogue of paintings by George J. Coates and Dora Meeson (Mrs. Geo. J. Coates)
At the Gallery of the Society of Arts Institute Building. [Adelaide?] exhibition catalogue, folded sheet, catalogue of 83 works. Dora Meeson was known for her involvement in the British Suffragette movement.
Publishing details: Society of Arts, circa 1920. Octavo,
Ref: 1000
Coates Georgeview full entry
Reference: see Catalogue of paintings by George J. Coates and Dora Meeson (Mrs. Geo. J. Coates)
At the Gallery of the Society of Arts Institute Building. [Adelaide?] exhibition catalogue, folded sheet, catalogue of 83 works. Dora Meeson was known for her involvement in the British Suffragette movement.
Publishing details: Society of Arts, circa 1920. Octavo,
Ashton Robertview full entry
Reference: Trace - Photographs by Robert Ashton; poems by Gregory Day. illustrated with black and white photography by Ashton accompanied by poems by Day.
‘This book is a journey in photographs & poems from the heart of the forest to the ocean shore. It evokes not only the textures of the natural world but our traces as human creatures within it’ – the preface.

Publishing details: Aireys Inlet, Vic. : Merrijig Word & Sound Co., 2003. Oblong quarto, embossed linen with laid in image, pp. 60,
Ref: 1000
Petyarre Ada Bird and Gloria Petyarreview full entry
Reference: Black abstract
Essay by Simon Turner.
Catalogue of an exhibition presenting the work of renowned artists Ada Bird Petyarre and Gloria Petyarre, Anmatyarr custodians who have painted the stories, symbols, patterns and their country Anungra for over 20 years.

Publishing details: Cleveland, Qld. : Woolloongabba Art Gallery & Redland Art Gallery, 2004. Quarto, illustrated wrappers, pp. 16, illustrated.
Ref: 1000
Petyarre Gloriaview full entry
Reference: see Black abstract
Essay by Simon Turner.
Catalogue of an exhibition presenting the work of renowned artists Ada Bird Petyarre and Gloria Petyarre, Anmatyarr custodians who have painted the stories, symbols, patterns and their country Anungra for over 20 years.

Publishing details: Cleveland, Qld. : Woolloongabba Art Gallery & Redland Art Gallery, 2004. Quarto, illustrated wrappers, pp. 16, illustrated.
Crawford Marianview full entry
Reference: Between - ‘Things become noisy or busy, and then fall away, to rise again.’ artist’s statement  
Publishing details: Melbourne : the artist], 2019. Artist’s book (266 x 1115 mm). Narrow octavo, letterpress wrappers, pp. [8], printed letterpress, relief prints on Zerkall, glassine sheets. Published by the artist in an edition of 12 initialled and numbered copies.
Ref: 1000
Crawford Marianview full entry
Reference: Looking ‘Looking presents an experience of beholding, opinion-making and sensation’. —Marian Crawford, artist’s statement  
Publishing details: Melbourne : the artist], 2019. Artist’s book (210 x 150 mm). Octavo, letterpress wrappers, pp. [12], printed letterpress, relief prints on Zerkall. Published by the artist in an edition of 15 initialled and numbered copies.
[Melbourne : the artist], 2019. Artist’s book (210 x 150 mm). Octavo, letterpress wrappers, pp. [12], printed letterpress, relief prints on Zerkall. Published by the artist in an edition of 15 initialled and numbered copies.
Ref: 1000
Crawford Marianview full entry
Reference: Permutation
Publishing details:
[Melbourne : the artist], 2019. Artist’s book (210 x 150 mm). Octavo, letterpress wrappers, pp. [8], printed letterpress, relief prints and photographic intaglio on Zerkall. Published by the artist in an edition of 15 initialled and numbered copies.
Ref: 1000
Spear Felicity view full entry
Reference: Beyond visibility : light and dust. Roderick McNicol.
Bringing together the work of Felicity Spear, David Malin and Gulumbu Yunupingu the exhibition creates an environment that explores human efforts to make pictures of whatever lies beyond Earth’s atmosphere. Published to accompany an exhibition held at Monash Gallery of Art, May – June 2009 and UTS Gallery, 8th September – 9th October 2009.


Publishing details: Melbourne : Monash Gallery of Art, [2009]. Quarto, wrappers, pp. 28, photographic illustrations. Printed in an edition of 600 copies. Bringing together the work of Felicity Spear, David Malin and Gulumbu Yunupingu the exhibition creates an environment that explores human efforts to make pictures of whatever lies beyond Earth’s atmosphere.
Ref: 1000
Malin David view full entry
Reference: Beyond visibility : light and dust. Roderick McNicol.
Bringing together the work of Felicity Spear, David Malin and Gulumbu Yunupingu the exhibition creates an environment that explores human efforts to make pictures of whatever lies beyond Earth’s atmosphere. Published to accompany an exhibition held at Monash Gallery of Art, May – June 2009 and UTS Gallery, 8th September – 9th October 2009.


Publishing details: Melbourne : Monash Gallery of Art, [2009]. Quarto, wrappers, pp. 28, photographic illustrations. Printed in an edition of 600 copies. Bringing together the work of Felicity Spear, David Malin and Gulumbu Yunupingu the exhibition creates an environment that explores human efforts to make pictures of whatever lies beyond Earth’s atmosphere.
Ref: 1000
Yunupingu Gulumbu view full entry
Reference: Beyond visibility : light and dust. Roderick McNicol.
Bringing together the work of Felicity Spear, David Malin and Gulumbu Yunupingu the exhibition creates an environment that explores human efforts to make pictures of whatever lies beyond Earth’s atmosphere. Published to accompany an exhibition held at Monash Gallery of Art, May – June 2009 and UTS Gallery, 8th September – 9th October 2009.


Publishing details: Melbourne : Monash Gallery of Art, [2009]. Quarto, wrappers, pp. 28, photographic illustrations. Printed in an edition of 600 copies. Bringing together the work of Felicity Spear, David Malin and Gulumbu Yunupingu the exhibition creates an environment that explores human efforts to make pictures of whatever lies beyond Earth’s atmosphere.
Ref: 1000
Antipodean Manifestoview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Atyeo Sam p210view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Ashton Howard p65view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Balson Ralph p54 83view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Bauer Ferdinand p 133 147view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Beadle Paul p 84 220view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Beck Richard p 68 224view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Bell George p88 179 196view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Bellette Jean p84 220 264view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Bergner Yosl various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Blackman Charles various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Booth Peter p283 319view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Boyd Arthur various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Boyd Hermia various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Boyd David various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Boyd Robin various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Boyd family various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Brack John various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Brack Helen see Maudsley various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Maudsley Helen various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Brodzky Horace p216view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Brook Donald various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Brown Mike p215 264view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Burn Ian various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Cant James various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Chapman Dora 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Conder Charles 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Contemporary Art Societyview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Smith Grace Cossington various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Counihan Noel various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Crowley Grace 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Cotterell Harry P (1892-1965/66)view full entry
Reference: from the Fourth Australiana Virtual Show and Tell Report, July 2020:
Farming at Highvale by Harry P. Cotterell (1892-1965/66).
1950s Oil on board. Size: 38 x 44 cm.
This painting of Highvale, a farming community at the base of Mount Nebo and Mount Glorious was painted by Queensland artist Harry Prudencio Cotterell. The James Wieneke Collection of Photographs, John Oxley Library, State Library of Queensland, holds a photograph (ACC 7609) of Cotterell painting at Marburgh, Queensland c 1959.
Cotterell is a now forgotten figure. He was born in Bristol in south-west England in 1892 and during the first World War served in the Gloucestershire Yeomanry in the Middle East. After the war, he left England for Australia, where, according to family lore, he studied for a period at the Julian Ashton School in Sydney and mixed with a bohemian crowd in the Rocks. Subsequently, he moved to Brisbane where he and his wife Grace raised a family.
In 1927, Cotterell painted the scenery for the Brisbane Repertory Theatre’s production of Arms and the Man, beginning a long association with the local theatre scene. In the years before the second World War he worked as a commercial artist with his own business (Cotterell & Co) at 32 Edward Street, creating advertisements and producing hand-drawn animations for advertising for the Wintergarden and the St James Theatres. This was done by drawing and painting on celluloid sheets (cels) which were laid over a static background drawing. In 1937 he was fined £2 and costs for engaging in ‘sign-writers’ work’ outside the hours fixed by the Building Trades Award. In December 1941, he joined the Australian Army, serving as a Private in the Citizen Military Forces. During this time, he helped stage concert parties, designing and directing the production of scenery, drop curtains and back cloths. After his discharge in October 1944, he resumed work as a commercial artist and from the late 1940s, in company with Wilson Cooper, Charles Lancaster, Herbert Carstens and James Wieneke, he ventured from his home in Bardon (purchased with a deposit provided by close friend William Bustard) to regularly paint and sketch in the Marburg area, near Ipswich in south-east Queensland. During the 1950s, he was a strong supporter of Twelfth Night Theatre, helping with the sets and acting in productions, including a turn in 1950 as a ‘genial’ Banquo in Macbeth and a role in Juno and the Paycock (1954). Harry Cotterell’s exhibition history is slight. In November 1924 he exhibited three oils Realisation, Interior and Khalassa with the Queensland Art Society. Thirty years later, he took part in a joint exhibition (with Charles Lancaster, Hubert Jarvis and Frank Sherrin) at the Moreton Galleries in Brisbane (1954).
Richmond Pottery(1855-1893)view full entry
Reference: see the Fourth Australiana Virtual Show and Tell Report, July 2020:
5. AN INCONSPICUOUS JAR.
Salt glazed bung jar, 1885-1889, 26 x 17.5 cm. Attributed to the Richmond Pottery, note the four clay pad marks to the rim and the interior Bristol glaze.
Base, note three clay pad marks and angled edge. Paper label, “Sutherland, Sandwich Pickle”. Addendum to Victoria’s Earliest Potteries. Our Convict Era Potters. By Gregory Hill. Self-published, 2019. Copies available: ‘ghillpublications@hotmail.com’.
My first outing after the corona virus lockdown has come up trumps! The item – a simple, salt glazed bung jar with no markings commonly made in Australia from 1860 to 1890. I had stood in front of it, deliberating over whether there was enough reason to buy another brown pot. This example has slight differences to those usually found in Victoria, made by the Bendigo Pottery, Cornwell’s Pottery or the Dahlke Filter and Pottery Works. These
6
differences could prove to be identifying features of another maker, something I am always on the lookout for. They are notably the recess below the rolled lip, used to keep string or some other tied restrictive material around a cloth/ muslin covering which seals the jar, and the sharpish point where the shoulder starts to curve away from the straight sided body.
I have just published a book on “Victoria’s Earliest Potteries,” which is mainly concerned with identifying this type of pottery, so I am keenly aware of it. Often these differences in manufacture come down to pottery made interstate or overseas and do not indicate a new local manufacturer. However, my interest was sustained by a paper label, which probably identifies the production of the article as post 1930 because of the vulnerability of time induced wear and tear. If this is the case it would place the jar outside the period I was hoping for.
The general condition of the label was almost too good, another cause for apprehension as reproduction of old Australian labels have been made over the last twenty years, giving enough time for some wear to appear. My suspicions abated as I read what I could of the label; ‘Sutherland / S&S /----- / SANDWICH PICKLE / MANUFACTURED BY / CREMORNE ST. RICHMOND VICTORIA.’
The pickle reference rang true as bung jars were often used for pickling but the important part was the address. This was one street away from Dover St. in Richmond which was where William Marshall’s Richmond Pottery(1855-1893) was located. If a pickle company needed pottery jars, where else would you buy them but from the pottery works behind your factory. The ducks were lining up, enough for me to buy the jar and its label, a genuine 135 year old survivor.
Once home I dived into the research and found that Sutherland and Sons had been making vinegar from 1885 to the late 1970s. However, pickles had been a major part of their business. Their first address had been Cremorne St. before expanding to new premises in Wellington St. in 1889 which are now heritage listed. The new research also presented some problems such as the Richmond Pottery relocating in 1872 but this was only 800 metres further away and hardly changed my reasoning. It also means that the jar was probably made between 1885 and 1889 as the second address is not mentioned on the label.
I also closely inspected the jar and found some other anomalies. The rim of the jar has been slightly distorted during firing which is not uncommon but rare to appear in the wares from Bendigo, Cornwell or Dahlke. This reinforced my original ideas about a different provenance. There is an angled bottom corner to the jar of 15 mm, which is quite large. Usually these are smaller or even rounded, giving a better shape and are used as a purchase point when drawing a piece of wire between the jar and the throwing wheel in order to separate them.
The jars are usually salt glazed inside and out but our example has a cream coloured Bristol glaze on the inside. Bendigo did this on their larger items such as water filters but it is yet another unusual feature. There are four circular marks on the rim and three under the base which are the remains of clay pads that separate the items from one another in the kiln. This was to stop the jar glazing itself to the shelf, on which it sat, or to any objects sitting on it. This method was typically used when salt glazing but such factors as number, size, shape of the blobs and their positioning are all characteristics which could point to future Richmond Pottery attributions.
7

After years of researching the Richmond Pottery and putting together a considered account of its workings and history in “Victoria’s Earliest Potteries,” I was unable to find a single piece of pottery made there. I think, I now can but it mightn’t be long before irrefutable evidence may appear. At least one of the houses that stands on the Richmond Pottery site is being sold and evidence suggests this often leads to demolition and new building which creates an opportunity to search the site. I will be very surprised if we didn’t find shards identical to my pickle jar and it would clearly justify the decision to buy another inconspicuous jar.
Victoria's earliest potteriesview full entry
Reference: Victoria's earliest potteries : our convict era potters by Gregory Hill.
‘Until now, the earliest date for pottery manufacture in Victoria was thought to be the 1860s. The first successful British settlement in Victoria was in 1834, quite a way into the convict era of pottery which ended in 1870. Victoria, it was thought, had completely bypassed the ‘convict potters’ and started with a period of earthenware manufacture, along the lines of Staffordshire wares. Nothing could be further from the truth as this magnificent books sets out to remedy. 90% of the material in this book is previously unknown and is the product of 7 years of meticulous research by Greg Hill. It is a beautiful detailed book full of glorious photographs, maps, diagrams and erudition. A must for all lovers of Colonial pottery and decorative arts. Greg Hill’s interest in Australian pottery began with the clearance of his grandparent’s house in the early 1960s. The rooms were full of Victorian furniture and ‘clutter’. Greg has been a collector of Australian pottery for 44 years and an antique dealer for 28. Today he is recognised as the leading authority on both Australian Colonial Pottery and Australian Art Pottery.’
Publishing details: Gregory Hill, 2019.

Ref: 1000
Steffanoni Lewis view full entry
Reference: see the Fourth Australiana Virtual Show and Tell Report, July 2020:
11 - 14. Four examples from a set of 35 painted scenes on white cards.
Late C19th. Artist – attributed to Lewis or Sophia Steffanoni. Size: 9 x 11.5 cm.
These were a gift to the owner’s husband’s grandfather, probably in the 1950s or 1960s. They appear to be water colour sketches, heightened with white. A couple of years ago the owner was reading an old copy of the Antique Collector magazine, 43rd edition, and came across an article titled Lewis Steffanoni by Annette Butterfield. It was obvious that the coloured photo on page 60 of that article illustrated sketches the same as these; the style, the size, writing of the titles and the centre image “Cathedral Rock, Kiama” is very similar to one above. The owner tried to contact Annette Butterfield but she was deceased.
In her article Butterfield wrote that the image she illustrated shows “examples of his art work for use within the illuminated addresses” that his firm “Reading, Steffanoni & Son” ran from their premises at 92-94 Market St Sydney. Lewis Steffanoni died in 1880, and it would seem from the article that his death marked the closure of the shop and the end of the production of illuminated addresses. However, his daughter Sophie Steffanoni (1873-1906), through the researches of Annette Butterfield (her great-niece) has now received recognition as a painter of note in her own right. The family items illustrated in the Antique Collector came from Butterfield’s family’s collection; it would be interesting to know whether these watercolour sketches are now thought to be by Lewis or Sophia, and whether they were in fact intended for use in illuminated addresses, or simply plein air sketches by a talented female artist.
POSTSCRIPT AT
24.7.2020 - Feedback Notes to Virtual Show and Tell Report 
Number 4: Items 11-14 Were described as being by either Lewis or Sophia Steffanoni
14
One editor’s opinion, after reading their respective biographical articles in Design and Art
Australia online, is that the works are by Sophia and not her Father Lewis Steffanoni.

This is particularly supported by image 14 of Cathedral Rock, Kiama. The railway first arrived in North Kiama (now Bombo) in 1887 by which time Lewis was already deceased. Before that the journey would have taken some considerable time by road or boat and perhaps unlikely for Lewis to leave his day job at the SMH and his own business to travel down there? Sophia on the other hand travelled widely from Tasmania to Mount Kosciuszko. The view of Cathedral Rock Kiama is actually painted from Minnamurra, the train stop before Bombo.
It is also recorded that Sophia’s brother William would take her out in a small boat on Sydney Harbour and fish while she painted oil sketches of ferries, sailing boats and views of Circular Quay-all unusual subjects for women at the time (items 11-13). Her canvases had to be small as they had to be portable, being painted en plein air.

Her first lessons in oil painting were with a Miss Zahieros in 1890. In 1891 she won the prize
for water-colour painting at the National Juvenile Industrial Exhibition.
Three years later she became a pupil of Lister Lister (also Margaret Preston’s early teacher).
Sophia exhibited paintings from 1895 to 1903 with the Art Society and was included in its Federation Exhibition of 1901. She regularly sold her paintings at a good price, the equivalent of three times a labourer’s weekly wage.
The Bulletin spoke favourably of her work as did the newspaper critics. In 1903 her Paradise Hill, Blackheath was illustrated in the Sydney Mail.
One critic especially admired her sea pieces: 'The glint of sunlit waves and spray; the rich- hued rock ... are all painted with a hand that never errs’.
POSTSCRIPTS
SMH 15 Dec 1877
Sophia Elizabeth Steffanoni was named for her paternal grandmother who died 28 September 1877 age 69 at her residence, Douglas, Isle of Man, widow of Joseph Steffanoni formerly gold merchant and later of High Holborn London.
It’s interesting that Sophia’s Mother was a member of the Fairfax family which (via Lewis Steffanoni) ultimately led to the Fairfax’s family philanthropic association with AGNSW.

Steffanoni Sophia . view full entry
Reference: see the Fourth Australiana Virtual Show and Tell Report, July 2020:
11 - 14. Four examples from a set of 35 painted scenes on white cards.
Late C19th. Artist – attributed to Lewis or Sophia Steffanoni. Size: 9 x 11.5 cm.
These were a gift to the owner’s husband’s grandfather, probably in the 1950s or 1960s. They appear to be water colour sketches, heightened with white. A couple of years ago the owner was reading an old copy of the Antique Collector magazine, 43rd edition, and came across an article titled Lewis Steffanoni by Annette Butterfield. It was obvious that the coloured photo on page 60 of that article illustrated sketches the same as these; the style, the size, writing of the titles and the centre image “Cathedral Rock, Kiama” is very similar to one above. The owner tried to contact Annette Butterfield but she was deceased.
In her article Butterfield wrote that the image she illustrated shows “examples of his art work for use within the illuminated addresses” that his firm “Reading, Steffanoni & Son” ran from their premises at 92-94 Market St Sydney. Lewis Steffanoni died in 1880, and it would seem from the article that his death marked the closure of the shop and the end of the production of illuminated addresses. However, his daughter Sophie Steffanoni (1873-1906), through the researches of Annette Butterfield (her great-niece) has now received recognition as a painter of note in her own right. The family items illustrated in the Antique Collector came from Butterfield’s family’s collection; it would be interesting to know whether these watercolour sketches are now thought to be by Lewis or Sophia, and whether they were in fact intended for use in illuminated addresses, or simply plein air sketches by a talented female artist.
POSTSCRIPT AT
24.7.2020 - Feedback Notes to Virtual Show and Tell Report 
Number 4: Items 11-14 Were described as being by either Lewis or Sophia Steffanoni
14
One editor’s opinion, after reading their respective biographical articles in Design and Art
Australia online, is that the works are by Sophia and not her Father Lewis Steffanoni.

This is particularly supported by image 14 of Cathedral Rock, Kiama. The railway first arrived in North Kiama (now Bombo) in 1887 by which time Lewis was already deceased. Before that the journey would have taken some considerable time by road or boat and perhaps unlikely for Lewis to leave his day job at the SMH and his own business to travel down there? Sophia on the other hand travelled widely from Tasmania to Mount Kosciuszko. The view of Cathedral Rock Kiama is actually painted from Minnamurra, the train stop before Bombo.
It is also recorded that Sophia’s brother William would take her out in a small boat on Sydney Harbour and fish while she painted oil sketches of ferries, sailing boats and views of Circular Quay-all unusual subjects for women at the time (items 11-13). Her canvases had to be small as they had to be portable, being painted en plein air.

Her first lessons in oil painting were with a Miss Zahieros in 1890. In 1891 she won the prize
for water-colour painting at the National Juvenile Industrial Exhibition.
Three years later she became a pupil of Lister Lister (also Margaret Preston’s early teacher).
Sophia exhibited paintings from 1895 to 1903 with the Art Society and was included in its Federation Exhibition of 1901. She regularly sold her paintings at a good price, the equivalent of three times a labourer’s weekly wage.
The Bulletin spoke favourably of her work as did the newspaper critics. In 1903 her Paradise Hill, Blackheath was illustrated in the Sydney Mail.
One critic especially admired her sea pieces: 'The glint of sunlit waves and spray; the rich- hued rock ... are all painted with a hand that never errs’.
POSTSCRIPTS
SMH 15 Dec 1877
Sophia Elizabeth Steffanoni was named for her paternal grandmother who died 28 September 1877 age 69 at her residence, Douglas, Isle of Man, widow of Joseph Steffanoni formerly gold merchant and later of High Holborn London.
It’s interesting that Sophia’s Mother was a member of the Fairfax family which (via Lewis Steffanoni) ultimately led to the Fairfax’s family philanthropic association with AGNSW.

Dalgarno Roy various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
de Maistre Roy 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Dickerson Robert 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Dobell William various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Drysdale Russell various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Dyring Moya various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Edwards Oscar 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Evatt Mary Alice numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Fizelle Rah various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Fleischmann Arthur 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
French Leonard various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Friend Donald 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Gleeson James numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Haefliger Paul 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Herman Sali numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Hinder Frank 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Hodges William various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Hughes Robert various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
King Grahame various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
King inge various ref and illustration see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Klippel Robert 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Larter Richard various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Lawler Adrian various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Lendon Nigel 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Lindsay Daryl various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Lindsay Lionel various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Lindsay Norman 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Lymburner Francis 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Lynn Elwyn various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
McClintock Herbert 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
McCulloch Alan various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Medworth Frank 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Missingham Hal numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Murray-Smith Stephen 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Nolan Sidney numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
O’Connor Vic numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Orban Desiderius 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Olsen John 4 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Olley Margaret 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Passmore John numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Smith Bernard view full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Proctor Thea 4 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Pugh Clifton 4 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Dattilo-Rubbo Anthony various refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Shaw Roderick 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Shore Arnold 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Surrealism numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Symbolism numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Thake Eric 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Tierney Joseph aka Bernard Smith see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Tucker Albert numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Tuckson Tony numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Upward Peter 3 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Smith Sydney Ure numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Wakelin Roland 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Wallace-Crabbe Chris numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Webber John numerous refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Yellow House 2 refs see indexview full entry
Reference: see Hegel’s Owl - The Life of Bernard Smith, by Sheridan Palmer. [to be indexed]. ‘Bernard Smith began life as a ward of the State; he would go on to become the father of Australian art history. In 2008, Smith invited writer and art historian Sheridan Palmer to write his biography. Through years of interviews and exclusive access to Smith's papers and library, Palmer reveals the unique character of an exceptional man.’
"Bernard Smith was undoubtedly Australia's greatest art historian and arguably Australia's greatest humanities scholar altogether. His European Vision already contains within it all subsequent approaches to Australian art and culture: post-colonial, post-modern, post-national. Sheridan Palmer's superb biography is detailed, inclusive and at times even properly critical. It not only captures a major figure from our past but, just as importantly, points towards the possible fate of his ideas in the future."―Rex Butler, author of A Secret History of Australian Art
"A terrific book which paints the shades of Smith's interior and exterior worlds and brings to life a brilliant and pioneering Australian intellectual."―Jos Hackforth-Jones, director, Sotheby's Institute
"An elegant and powerful study, finely crafted – fully worthy of its subject."―Peter Beiharz, Curtin University, Perth
"Art teacher, artist, art historian, art critic, museum official, curator, university administrator, academician, collector, patron, and art theorist – Bernard Smith did it all, and then more: he was also a brilliant memoirist, a political polemicist, a cultural commentator, and a community activist. In this carefully researched, vividly written and thoroughly engaging biography, Sheridan Palmer provides an absorbing account of the intellectual and personal journey of Australia's preeminent historian of art and culture, a scholar with a worldwide reputation. Situating Smith within each of the fields he touched, Palmer also enriches our sense of how Australian culture was built during the twentieth century. By no means a hagiography, this is a full and frank account of a man who saw himself as, in his own words, 'a bastard among them, taking notes.'"―Terry Smith, author of Contemporary Art: World Currents
About the Author
Sheridan Palmer is an independent scholar and writer. Her previous publications include Dean Bowen: Argy–Bargy and Centre of the Periphery: Three European Art Historians in Melbourne.

Publishing details: Power Publications, 2016. pb, 424 pages
Legacies of Bernard Smith The view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
love tokensview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
convict love tokensview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Johnson & Simonsen jewellersview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Priora Bros jewellers c1900view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Rein Niello jeweller c1887-1910view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hogarth Erichson & Co jeweller c1860view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Reeve Elsie jeweller c1920view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Linton James A B jeweller c1920view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Wager Rhoda jeweller c1920view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Atkinson Alfred jeweller c1925view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Junger Hermann jeweller view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Minkkinen Eila jeweller view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Ots Nina jeweller view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Larsen Helge & Darani Lewers jewellers view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Lewers Darani & Helge Larsen jewellers view full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Raft Emanuel jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bauer Frank jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Skipper Matchem jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Keogh Rex jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Wennrich Wolf jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Creighton Norman jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Allen Geoffrey jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hansen Ragnar jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Walker David jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bosshard Kobi jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hudig Ida jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Ashken Tanya jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hansen Jens jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hitchings Gavin jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Norman Ray jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Mathieson Bill jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Schoon Theo jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hughson Peter jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bakker Gijs jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bury Claus jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Clasby Daniel jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Backen Robyn jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Gee Elena jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Freeman Warwick jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Gash Ruby jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Edgar John jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Preston Alan jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Erickson Dorothy jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Brownsworth Anne jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Glanville-Anson Vanessa jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Tune Lyn jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Mapp Owen jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Salt Don jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hegglun Dave jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Tully Peter jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
McDiarmid David jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Marshall Marian jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Grakalic Viliama jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Cohn Susan jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hosking Marian jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Selkirk David jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Broadhead Caroline jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Boekhoudt Onno jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Brakman Joke jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Kunzli Otto jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Karl-Spence Sieglinde jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Gough Rowena jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Anderson Michael jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Wilson Jenny Toynbee jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Ross Don jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Schwank Tor jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Lorraine Sue jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Truman Catherine jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Brennan Anne jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
West Margaret jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Mason Roy jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Baird Ruth jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Couper Michael jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Mason Paul jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Brown Alan jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Pattrick Jenny jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Mulqueen Stephen jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Beer Georg jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Culy Ann jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Atkinson Joan jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Daly Andrea jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Thompson Grant jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Ewing Kate jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Kuhnen Johannes jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Makigawa Carlier jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Aitken-Kuhnen Helen jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Davidson Marcos jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Millard Karl jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Heath Barbara jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Wallis Anna jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hall Annie jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Funaki Mari jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Walker Lisa jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Marsland Sally jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Britton Helen jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Cavalan Pierre jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Deckers Peter jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
McKay Peter jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Charteris Chris jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Smith Sofia Tekela jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hastings-McFall Niki jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Matchitt Gina jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
McIntyre-Wilson Mathew jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Whish Alice jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bartley Roseanne jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Vaarwerk Mark jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Erl Ilse-Marie jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Guiney Caz jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Porter Phoebe jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Mason Vicki jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Chan Jacqui jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Greeno Lola jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Guyula Walinyinawuy jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Clarke Maree jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Hall Jason jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
McLeod David jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Davern Anna jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Sheehan Joe jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Cook Octavia jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Dodd Jane jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Blyfield Julie jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bern Pauline jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bowman Katherine jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Haydon Kirsten jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Kelly Lynn jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Bevan Renee jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Allison Fran jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Mason Vicki jewellerview full entry
Reference: see Place & Adornment: A History of Contemporary Jewellery in Australia and New Zealand by Damian Skinner & Kevin Murray. [’The chapters are: antecedents; transplanting modernism 1960-1975; unleashing the local 1975-1980; Herman Junger down under 1982; here & there 1980-1990; the return of jewellery 1990-2000; the promise of place.’]

Publishing details: David Bateman, Sydney. 2014. 4to, 248pp, colour illustrations. With index. Bibliography. Endnotes.
Smith Grace Cossington various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Counihan Noel various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Evatt Mary Alice various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Friend Donald various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Gleeson James various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Hodges William various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Lewin John William p35-6view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Lindsay Lionel various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Jones Charles Lloyd p221-5view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Lynn Elwyn various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
McCahon Colin various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Missingham Hal various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Namatjira Albert various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Nolan Sidney various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Perceval John various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Preston Margaret various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Roberts Tom various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
SORA various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Studio of Realist Artists various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
symbolism various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Tierney Joseph aka Bernard Smith various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Tucker Albert various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Tuckson Tony various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
von Guerard Eugene various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Wilson Eric various references view full entry
Reference: see The legacies of Bernard Smith : essays on Australian art, history and cultural politics / edited by Jaynie Anderson, Christopher R. Marshall and Andrew Yip. [’SYNOPSIS: Bernard Smith could rightly be called the founder of Australian art history. His influence on Australian cultural life was immense, from the publication of Place, Taste and Tradition in 1945 until his death in September 2011. Each of his publications nurtured an Antipodean view, whether art historical or anthropological, and opened up new fields in Australian scholarship.
The Legacies of Bernard Smith arises from a collaborative international conference convened in 2012 between the Universities of Melbourne and Sydney, and the AGNSW. It is the most significant work on Smith’s impact to date, with over twenty contributing authors, and examines his legacies in Australian art history, museology, Pacific art studies, Australian studies and Indigenous art. 
It has been widely asserted that Bernard Smith established the discipline of art history in Australia. He was the founding professor of contemporary art and the directory of the Power Institute at the University of Sydney, published the classic art text Australian Painting, three volumes on the art of Captain Cook's voyages, and two memoirs. His work was seminal for histories of Pacific encounter and he also authored some of the country's most eloquent memoirs. This publication brings together international academics from a range of disciplines to focus on everything Bernard Smith left his mark on: Antipodean and European envisioning of the Pacific, the definition of Australian art, gallery scholarship and public art education, museological practice, art criticism, Australian art biography and local heritage. Contributions from: Jaynie Anderson; Andrew Sayers; Robert W. Gaston; Nicholas Thomas; Rdiger Joppien; Kathleen Davidson; Terry Smith; Peter Beilharz; Catherine Speck; Paul Giles; Simon Pierse; John Clark; Steven Miller; Joanna Mendelssohn; Christopher R. Marshall; Jim Berryman; Ann Stephen; Max Solling; Kate Challis; Sheridan Palmer; Catherine De Lorenzo; Ian McLean.
 
ABOUT THE EDITORS
Professor Jaynie Anderson is Professorial Fellow in Art History and Art Curatorship at the University of Melbourne. Her most recent work includes The Restoration of Renaissance Painting in mid Nineteenth-Century Milan: Giuseppe Molteni in Correspondence with Giovanni Morelli (2014).
Dr Christopher R. Marshall is Senior Lecturer in Art History at the University of Melbourne, and author of such works as From Altar to App: Displaying Devotion in the Contemporary Museum (2015).
Dr Andrew Yip is iGLAM Research Fellow at the National Institute for Experimental Arts. He is co-curator of the forthcoming AGNSW archive and collection exhibitions, Hidden War: stories from the trenches in the National Art Archive, and Mad through the darkness: Australian artists and the Great War (2015).’] [to be indexed]
Publishing details: Power Publications, in association with the Art Gallery of New South Wales, 2016, xi, 370 pages : illustrations (some colour), portraits (some colour)
Marketing artview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
dealers in artview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
art dealersview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
commercial galleriesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
galleriesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Angus & Robertson Fine Art Gallery, Melbview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
galleriesview full entry
Reference: see Australia’s Gallery World, 1930s - 1960s’ by Patricia Anderson
Publishing details: Quadrant, January - February, 2011, p104-7
dealingview full entry
Reference: see Australia’s Gallery World, 1930s - 1960s’ by Patricia Anderson
Publishing details: Quadrant, January - February, 2011, p104-7
Rudy Komonview full entry
Reference: see The First Gallery in Paddington, The artists and their work tell the story of the Rudy Komon Art Gallery, by Gwen Frolich [to be indexed]
Publishing details: Edwards & Shaw 1981
Komon Rudy view full entry
Reference: see The First Gallery in Paddington, The artists and their work tell the story of the Rudy Komon Art Gallery, by Gwen Frolich [to be indexed]
Publishing details: Edwards & Shaw 1981
Arts Economy Theview full entry
Reference: The arts economy 1968-98 : three decades of growth in Australia / a research report for the Australia Council by Hans Hoegh Guldberg. Includes bibliographical references.
Publishing details: Surry Hills, N.S.W. : Australia Council, 2000, v, 170 p. : ill.
Ref: 1000
Economic issues in art view full entry
Reference: see The arts economy 1968-98 : three decades of growth in Australia / a research report for the Australia Council by Hans Hoegh Guldberg. Includes bibliographical references.
Publishing details: Surry Hills, N.S.W. : Australia Council, 2000, v, 170 p. : ill.
dealing in art view full entry
Reference: see The arts economy 1968-98 : three decades of growth in Australia / a research report for the Australia Council by Hans Hoegh Guldberg. Includes bibliographical references.
Publishing details: Surry Hills, N.S.W. : Australia Council, 2000, v, 170 p. : ill.
Anthony Hordern Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Argus Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Argyle Rooms Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Artarmon Galleries view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Artlovers Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Art Society of Tasmania p21view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Art Unions p20view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Aspden David various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Aspden David various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Athenaeum Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Australian Galleries Melbourne numerous referencesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Baldessin George various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Barry Stern Galleries numerous referencesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Stern Barry Galleries numerous referencesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Bastin Henri 3 refs referencesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Bell George 5 refs referencesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Bellette Jean 4 refs referencesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Blackman Charles various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Bonython Kym various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Bonython Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Boyd Arthur various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Boyd David various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Brack John various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Brown Joseph and Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Brown Mike various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Brummell’s Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Bush Charles various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Buxton’s Gallery p20-21view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Cant James various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Cassab Judy 4 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Central Street Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Christies in Australia various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Charm School 5 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Christmann Gunter various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Clune Galleries various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Clune Terry various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Coburn John various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Contemporary Art Society and Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Coventry Chandler Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Crooke Ray various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Crossley Print Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Darlinghurst Galleriesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
David Jones Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Decoration Co auctioneers p196view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Daws Lawrence various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
de Teliga Stan various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Dominion Gallery Sydneyview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Dobell William various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Drysdale Russell various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
El Roco Jazz Club various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Etham Arts & Crafts Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Exhibition Room gallery p19view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Experimental Art Foundation p279view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Farmers Blaxland Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
First Draft Gallery p305view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
French Leonard various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Friend Donald various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Gallery 43 p106view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Gallery One Eleven p311view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Gallery of Primitive Art p210-12view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Grays Auctions various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Geoff K Gray Auctions various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
George Paton Gallery p279view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Paton George Gallery p279view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Gittoes George p300-3view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Gordon Galleriesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Greenhill Galleriesview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Grey Space Galleries p305view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Grosvenor Galleries view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
von Guerard E various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Harpur Royston 3 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hart Pro 3 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Herman Sali 5 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hessing Len 3 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hester Joy 5 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Heysen Hans 4 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hogarth Galleries view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Holdsworth Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hughes Ray Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hughes Robert various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hungry Horse Galleries various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Huntley Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Hutchinson Max Gallery Aview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Gallery Aview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Inhibodress Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Institute of Contemporary Artview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
James R Lawson auctioneersview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Lawson James R auctioneersview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Lanceley Colin various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Leach-Jones Alun various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Legge Geoffrey various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Leonard Joel auctioneersview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Joel Leonard auctioneersview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Leveson Street Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Lewis Ann Gallery Aview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Lister Gallery Perthview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Llewellyn Galleries Adelaideview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Lynn Elwyn various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
McClelland Joan Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
McClelland Joshua p196-7view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
McCulloch Alan various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
McDonald Frank Clune Galleries various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
McGillick Tony various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Macquarie Galleries various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Meadmore Clement various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Mertz Harold and collection various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Miller Godfrey various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Missingham Hal various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Molvig Jon various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Mora Georges and Mirka various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Moreton Galleries Brisbaneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Museum of Modern Art of Australiaview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Museum of Modern Art & Design of Australiaview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Nodrum Charles p206 308view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Nodrum Charles p206 308view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Nolan Sidney various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Notanda Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Page-Cooper George and saleview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
O’Brien Justin various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Olsen John various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Park Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Parks Ti various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Passmore John various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Perceval John various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Peter Bray Gallery various refs previously Stanley Coe Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Stanley Coe Gallery later Peter Bray Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Phillip Bacon Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Pinacotheca Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Primrose Pottery p196view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Plate Carl 3 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Pollard Bruce various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Powell Street Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Purves Anne various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Pugh Clifton various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Purves Stuart various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Purves Tam various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Queensland Art Gallery various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Rapotec Stanislaus various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Realities Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Reed John various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Reed John and Sunday various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Roar Studiosview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Robin Gibson Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Roberts Tom various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Rooney Robert various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Rubery Bennett Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Bennett Rubery Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Scheinberg Gisella Holdsworth Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Seddon Gallery Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Skinner Gallery Perthview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Skinner Rose Gallery Perthview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Smart Jeffrey various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Smith Bernard various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Smith Terry various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Smith Treania 3 refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Solander Gallery Canberraview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
South Yarra Gallery Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Southern Cross Galleries Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Stadia Graphics Sydneyview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Stern Barryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Strines Gallery Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Stewart Gerstman Gallery Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Gerstman Stewart Gallery Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Swanton Lucy various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Sweeny Reed Gallery Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Reed Gallery Sweeny Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Szabo Joe p151view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Talbot Mary various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Terry Clune Gallery Sydneyview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Clune Terry Gallery Sydneyview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Thomas Daniel various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Tolarno Gallery Melbourneview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Tucker Albert numerous refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Tye’s Gallery Melbourne orig Velazquez Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Velazquez Gallery later Tye’s Gallery Melbourne view full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Upward Peter p42-7 etcview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Victor Mace Fine Artview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Mace Victor Fine Artview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Victorian Artists Society Galleryview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Villiers Gallery Sydneyview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
von Bertoch Gallery NSWview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Warehouse Gallery Melbview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Watkins Dick various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Watters Frank various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Whiteley Brett various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Watters Frank various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Yellow House Sydney various refsview full entry
Reference: see Inside the Art Market - Australia’s Galleries - A History 1956 - 1976 by Christopher Heathcote [’Upfront, street savvy, and enthralling, this book is an indispensable tool in understanding the role of the art market. Dr Christopher Heathcote is the author of numerous publications on Australian art, and in this latest offering he traces the history and growth of Australia's private and independent galleries since 1956. Heathcote shares the inside story of how private art galleries have assisted our leading artists to gain public attention and how a cluster of trailblazing gallery owners including Kym Bonython, Rudy Komon, Anne and Tam Purves, Terry Clune, Barry Stern, Georges Mora and Frank Watters, transformed the business of selling pictures.’]
Publishing details: Thames and Hundson, 2016
Brown Mikeview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Haese Richard view full entry
Reference: Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Annandale Imitation Realists various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Antipodean Manifesto various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Art & Text various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Binns Vivienne various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Brook Donald various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Central Street Gallery 3 refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Crothall Ross various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Heide various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Howlett Leonora various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Hungrey Horse Gallery various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Hutchinson Max various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Imitation Realism various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Kennedy Peter various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Klippel Robert various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Lanceley Colin various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Lynn Elwyn 3 refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Mortensen Kevin p174-6 view full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Olsen John various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Passmore John various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Pinacotheca Gallery various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Reed John various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Rose William 2 refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Smith Bernard various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Surrealism various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Sydney Twelve p108-12view full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Tillers Imants p158-9view full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Vickers Trevor various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Victoria Street Group p24-6view full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Watters gallery various refsview full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Yellow House p172-3view full entry
Reference: see Permanent Revolution: Mike Brown and the Australian Avant-Garde 1953-1997, by Richard Haese. ‘In 1960 the 22-year-old Mike Brown joined the New Zealand artist, Ross Crothall, in an old terrace house in inner Sydney's Annandale. Over the following two years the artists filled the house with a remarkable body of work. Launched with an equally extraordinary exhibition, the movement they called Imitation Realism introduced collage, assemblage and installation to Australian art for the first time. Laying the groundwork for a distinctive Australian post-modernism, Imitation Realism was also the first Australian art movement to respond in a profound way to Aboriginal art, and to the tribal art of New Guinea and the Pacific region.

By the mid-1960s Brown was already the most controversial figure in Australian art. In 1963 a key work was thrown out of a major travelling exhibition for being overtly sexual. Finally, in 1966-67, Brown became the only Australian artist to have been successfully prosecuted for obscenity.

Brown spent the last 28 years of his life in Melbourne, where his reputation for radicalism and nonconformity was cemented with his multiplicity of styles, exploration of themes of sexuality, and transgressive commitment to the ideal of street art and graffiti. Against a background of the counter-culture and the social and political upheavals of the 1960s and 1970s, Brown's art and remarkable life of personal and creative struggle is without parallel in Australian art. Permanent Revolution is the first full-scale account of Mike Brown's life and work.

About The Author

Richard Haese is an art historian and is currently an honorary research associate in the School of Historical and European Studies at La Trobe University. He is the author of Rebels and Precursors : The Revolutionary Years of Australian Art, which won the NSW Premier's Award for non-fiction in 1982. He curated Power to the People, the retrospective exhibition of the work of Mike Brown at the National Gallery of Victoria in 1995.’
Publishing details: Miengunyah Press, 2011, hc, 297pp, with endnotes, bibliography and index
Glasheen Michaelview full entry
Reference: Michael Glasheen - Drawing on the land: Garigal Country. Catalogue for exhibition at Cooee Gallery. Paddington, Sydney, 27-30 June, 2020. Brief essay and a biography by Annie Kelly. Fully illustrated.
Publishing details: Cooee Gallery, pb, 40pp. With price list inserted.
Frome E Cview full entry
Reference: Sketches in South Australia 1839-1852
By: Appleyard, R. G.. Bulletin of the National Gallery of South Australia , vol 34, 1 & 2, 1972

in Bulletin of the National Gallery of South Australia. In two volumes, vol. 1, numbers 1-21, 1939-1960 and Vol 2, numbers 22-29 (to 1967). These have been indexed by the Art Retrospective Index 1929-1984 (H.W. Wilson) - Arts and Performing Arts. This an American online arts database available online via the State Library of New South Wales (SLNSW). Key articles from the Bulletin of the National Gallery of South Australia Bulletin included in Art Retrospective Index have been entered into the Scheding Index.
Publishing details: National Gallery of South Australia [now Art Gallery of South Australia], not paginated, bound in two volumes.
Drawing in Australiaview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Slouching Toward Bethlehemview full entry
Reference: Slouching Toward Bethlehem - An exhibition of preparatory and informal drawings, curated by Geoff Lowe
Publishing details: 200 Gertrude Street gallery, 1986
Ref: 1000
Lowe Geoffview full entry
Reference: see Slouching Toward Bethlehem - An exhibition of preparatory and informal drawings, curated by Geoff Lowe
Publishing details: 200 Gertrude Street gallery, 1986
drawingview full entry
Reference: see Slouching Toward Bethlehem - An exhibition of preparatory and informal drawings, curated by Geoff Lowe
Publishing details: 200 Gertrude Street gallery, 1986
Buziak Renataview full entry
Reference: from artist’s website:
Renata Buziak, born in Poland, moved to Australia in 1991. In 2006 Renata has completed her Bachelor of Photography with First Class Honours at Queensland College of Art (QCA), Griffith University, Brisbane, and PhD research in 2016. Renata is also a a sessional academic at QCA and Queensland University of Technology (QUT).
Renata’s experimental biochrome work has been exhibited in solo and group exhibitions, nationally and internationally, including ANCA Gallery in Canberra, Red Gallery in Melbourne, the Queensland Centre for Photography (QCP), the Perth Institute for Contemporary Art (PICA), Blender Gallery in Sydney, Photo LA, The Opole Contemporary Art Gallery, Academy of Fine Art in Warsaw and more. Renata was a recipient of a number of art awards including The Thiess Art Prize and the Royal Brisbane Women’s Hospital Art Award; she completed several artist residencies: Botanica at the Brisbane Botanic Gardens Mt Coot-tha, TreeLine: People, Art, Science, Nature at the Caloundra Regional Gallery, 100 Futures at the KGSC, Lines in the Sand Arts Festival on North Stradbroke Island. Renata’s work is held in public and private collections (listed below).
In 2014 Renata was invited to exhibit at the 4th Biennale Ars Polonia in Opole, Poland, an international showcase of works by artists of Polish heritage. Her monogram Renata Buziak: Afterimage was launched in 2010 by the QCP, and her research papers published in peer assessed publications, as listed in the TEXT page, and in Artist CV.

Artist Statement
Nature’s vegetation offers an endless supply of organic matter for use in my artworks. I create images by forming alliances between a variety of plants and photographic emulsions. I call these images 'Biochromes' because the natural occurrence of decomposition on the photographic materials results in an array of colourful pigmentation arranged in complex and detailed compositions, aided by natures own creative skill.
The chemical and biological reactions that take place during the process of decay are fundamental to my image making process. This art and science endeavor traces the activities of the microbes; reveals the complex process of decay while addressing its metamorphic power. My work also combines my interests in macro and aerial imaging of the environment.
While my practice builds on the traditions of botanical illustrations and experimental photographic techniques, my 'fertilisation' of photographic materials, using vegetation, directly focuses on the significance of time and change through organic decay and regeneration, pushing the boundaries of the photographic medium.
My recent PhD research project focused on Australian medicinal plants. Resutling artwork created over several years can be viewed in the following albums: Medicinal Plant Cycles, Unfolding Rhythms, TreeLine, and Core Energy.’
Publishing details: http://renata-buziak.com/about
Ref: 1000
Hall Lindsay Bernard view full entry
Reference: see Raffan Kelleher and Thomas auction. lot 57:
The Contents of 'Kirra', Killara
Live bidding begins Jul 6, 2020 at 6:00 PM AEST (4d 24m left for internet bidding)
DESCRIPTION
LINDSAY BERNARD HALL (1859-1935) "Nude Reflection" Oil on canvas Signed lower right, 68 x 49.5cm. Provenance: Leonard Joel, 24 February 1998, Lot 24.
CONDITION
Provenance: Leonard Joel, 24 February 1998, Lot 24. Literature: Catalogue of Exhibition held at Anthony Hordern and Sons Galleries, October 1919. Foreword by Lionel Lindsay. 'For years he has been interested in the old, but ever new, problem of painting the nude, delighting in the hue and subtle reflections upon delicate tones. Nothing is haphazard, each object, each colour shape completes a pattern which is built securely upon a linear base. It owns no careless generalisations, no casual effects of chance, it is all well considered, perfectly understood and established by a thorough knowledge and command of his medium... He is undoubtedly our finest draughtsman of the figure, and his art found upon the probity of drawing the individual in feeling, in colour and in decorative value. It is eminently original.' This Painting by Lindsay Bernard Hall bears almost identical resemblance in subject matter, composition, colour and size to a painting held by the Art Gallery of South Australia entitled 'Model in Mirror' (IRN:14052 Accession No.0.846 size 67.3x47cm, unsigned and undated) purchased for seventy guineas from an exhibition of paintings by the late L.Bernard Hall held in Melbourne May 27 to June 8, 1935. Both paintings depict the same nude model with striking red hair contemplating her own reflection in a large cheval mirror. Fabric is draped over the forearm and extends behind the figure to the other side. She sits on a decorative Persian style rug. It is really only the background props which differ significantly between each of the works. https://www.agsa.sa.gov.au/collection-publications/collection/works/model-in-mirror/24289/
Hall Lindsay Bernard view full entry
Reference: Catalogue of Exhibition held at Anthony Hordern and Sons Galleries, October 1919. Foreword by Lionel Lindsay.
Publishing details: Anthony Hordern and Sons, 1919.
Ref: 1000
Sayers Andrewview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Westall William work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lesueur Charles-Alexandre work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Parkinson Sydney work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Brown Peter c1770-90 work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Miller John Frederick c1773 work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bauer Ferdinand work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Petit Nicolas-Martin work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lewin John Williamwork illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hunter John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Port Jackson Painter work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dayes Edward work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Eyre John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Browne Richard work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Earle Augustus work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Duterrau Benjamin work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bock Thomas work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Read Richard Senior work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lycett Joseph work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Rodius Charles work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Read Richard Junior work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gould W B work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Rodius Charles work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Costantini C H T work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Wainewright Thomas Griffiths work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Martens Conrad work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Angas George French work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Glover John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Prout John Skinner work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gill S T work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Allport Mary Morton work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Meredith Louisa Anne work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Griffith William work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Ironside Adelaide work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Nicholas William work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Winstanley Edward work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Garling Frederick work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Frome E C work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
von Guerard Eugene work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Schramm Alexander work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Strutt William work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Rowe George work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Burn Henry work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bateman Edward Henry La Trobe work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Chevalier Nicholas work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Barak William work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Becker Ludwig work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Martens Conrad work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gully John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Piguenit W C work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Buvelot Louis work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Henry Lucian work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Rowan Ellis work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Scott Helena work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hamel and Freguson work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Tibbitts William work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Smith Bernhard work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Streeton Arthur work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gill H P work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Boyd Emma Minnie work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Ashton Julian work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Souter D H work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
May Phil work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Moffitt Ernest work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lind Ruby work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dyson Ruby (Lind) work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lindsay Norman work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Edwell Bernice work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Meldrum Max work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lambert George W work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Roberts Tom work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Young Blamire work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Proctor Thea work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Heysen Hans work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Rodway Florence work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Wilson W Hardy work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Rae Iso work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dyson Will work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Leist Fred work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gruner Elioth work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Smith Grace Cossington work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Perry Adelaide work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Rees Lloyd work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Crowley Grace work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hinder Frank work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Wilson Eric work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Macqueen Kenneth work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Moore John D work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Waller Napier work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Barringer Gwen work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Linton James W R work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Fizelle Rah work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Webb A B work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Pareroultja Reuben work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Namatjira Albert work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bell George work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Purves Smith Peter work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Drysdale Russell work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Fairweather Ian work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Nolan Sidney work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gleeson James work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Tucker Albert work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Friend Donald work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Boyd Arthur work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hele Ivor work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Thake Eric work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Herbert Harold work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Mack Ludwig Hirschfeld work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bergner Yosl work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Wigley James work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bellette Jean work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dobell William work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Thornhill Dorothy work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Sainthill Loudon work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Kingston Amie work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lymburner Francis work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
O’Brien Justin work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Perceval John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hester Joy work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Blackman Charles work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Brack John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Williams Fred work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Balson Ralph work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Klippel Robert work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Passmore John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Tuckson Tony work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Miller Godfrey work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Jacks Robert work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lynn Elwyn work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Brown Mike work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lanceley Colin work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Salkauskas Henry work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Whiteley Brett work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Olsen John work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Sharp Martin work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
MacPherson Robert work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Christmann Gunter work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Whisson Ken work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dawson Janet work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Senbergs Jan work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Martin Mandy work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Unsworth Ken work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Booth Peter work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Parr Mike work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Carr Tanija & Graham
view full entry
Reference: see material Culture, US, auction, Thu, Jul 23, 2020, lot 46, Tanija & Graham Carr Leather Sculpture. Untitled, 1995. Wet formed, dyed and incised leather. Provenance: Beaver Galleries, Canberra, Australia.Size: 8'' x 28'' x 28'' (20 x 71 x 71 cm). Provenance: Estate of Aviva and Jack Robinson, Bloomfield Hills, Michigan. Tanija and Graham Carr are Western Australian artists particularly influenced by their training as architects. Drawing on a variety of influences (African, Asian, Aborigine) and styles they produce striking sculptural forms in leather using traditional tooling and saddle making techniques. The leather is hand cut, stitched and wet formed. Infused into their sculpture is an attention to detail and finish, an emphasis on the tactile, the absorption and reflection of light and an understanding of the material and a desire to push it. The work of Tanija and Graham Carr is collected by such diverse parties as the Australian Parliament House, the Contemporary Art museum of Hawaii to designer Donna Karan, New York.
Carr Graham & Tanija
view full entry
Reference: see material Culture, US, auction, Thu, Jul 23, 2020, lot 46, Tanija & Graham Carr Leather Sculpture. Untitled, 1995. Wet formed, dyed and incised leather. Provenance: Beaver Galleries, Canberra, Australia.Size: 8'' x 28'' x 28'' (20 x 71 x 71 cm). Provenance: Estate of Aviva and Jack Robinson, Bloomfield Hills, Michigan. Tanija and Graham Carr are Western Australian artists particularly influenced by their training as architects. Drawing on a variety of influences (African, Asian, Aborigine) and styles they produce striking sculptural forms in leather using traditional tooling and saddle making techniques. The leather is hand cut, stitched and wet formed. Infused into their sculpture is an attention to detail and finish, an emphasis on the tactile, the absorption and reflection of light and an understanding of the material and a desire to push it. The work of Tanija and Graham Carr is collected by such diverse parties as the Australian Parliament House, the Contemporary Art museum of Hawaii to designer Donna Karan, New York.
Hester Joyview full entry
Reference: JOY HESTER REMEMBER ME
30 June 4 October 2020 at Heide Galleries.
Curated by Kendrah Morgan
Publishing details: Heide Galleries, 2020, 20pp
Ref: 138
Bohemian Melbourneview full entry
Reference: Bohemian Melbourne: Artist, rebel, hippie, hipster? is showing at the State Library of Victoria until February 22.
Ref: 1000
Allen Micky reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Allport Henry Curzon reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Angas George Fife reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Angus Max reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Anivitti Gino reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Annand Douglas and Dahl reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Annand Dahl reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Armstrong Ian reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Arthur Tom reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Ashton George reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Ashton James reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Baldessin George reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Atkinson Robert reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Batterbee Rex reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bennett Portia reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Black Dorrit reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bilton Louis work illustrated and discussedview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bock Alfred reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bowring Emily reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Boyd family reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Boyd Penleigh reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Boyes G T W B reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Breninger Warren reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Brierly Oswald reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Buchan Alexander reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Bush Charles reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Cambridge Enid reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Campbell O R reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Campbell Sophia reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Cant James reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Cant Dora reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Chapman Dora reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Carrington Tom reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Cant Dora see Dora Chapmanview full entry
Reference:
Carter Norman reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Cayley Neville reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
cartooning reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Clark Thomas reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Clint Alfred reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Coates George reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Coburn John reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Cole Herbert reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Coleing Tony reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Collings Geoffrey reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Collins Albert reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Combes Edward reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Constable William reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Contemporary Art Society reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
convict artists numerous reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Counihan Noel reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Coventry Virginia reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Crothall Ross reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dalgarno Roy reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dalton Edward reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Daplyn A J reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dargie William reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dattilo-Rubbo A reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dangar Anne reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
de Tolnay Charles reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dickinson Sidney reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dickerson Robert reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dowling W P reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Dundas Douglas reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Earles Chester reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Ebert Max reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Eldershaw John reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Evans George reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Feint Adrian reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Finey George reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Flower Cedric reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Folingsby George reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Forde Helene see Scott Helena reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Fowles joseph reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Frankland George reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Fraser Peter reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Frater William Jock reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
French Leonard reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Frith Frederick reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Fullwood A H reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gill W H reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gilliland Hector reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gleghorn Tom reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Glover John Richardson reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gouldsmith Edmund reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gower Elizabeth reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Gritten Henry reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Grosvenor Galleries reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Grey F Millward reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Griffin Murray reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Haefliger Paul reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hall Bernard reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hallandal Pam reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Ham brothers reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hambidge Helen Alice and Millicent reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hamel & Ferguson reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Harrison Birge reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Harvey E A reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Haxton E A reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Henry Lucien reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Henshaw John reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Herbst Peter reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Herman Sali reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hern Charles reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hessing Leonard reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hilder J J reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hill Charles reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hinder Margel reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hirst G W L reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hope Laurence reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hodgkinson Frank reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hopkins Livingston reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hopwood H S reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Horrocks J A reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hortin Nan reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Howard Ian reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Howitt Alfred reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hoyte J C reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hughes Robert reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hungerford Charles reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hunter John Capt reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Hutton W L reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Intercolonial exhibitions reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
James R Haughton reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Jones Paul reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Kahler Carl reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Kaiser Peter reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Kay William reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Kemp Roger reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Kubbos Eva reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lange Eleanore reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Law Benjamin reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lawler Adrian reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Leach-Jones Alun reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lewers Gerald reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Light Col William reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lindsay Daryl reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Lindsay Lionel reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Long Sydney reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Longstaff John reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Mackennal Bertram reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
MacLeod William reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Martin Jesse reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Mahony Frank reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Mason Cyrus reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Mather John reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
McClintock Herbert reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
McNamara Frank reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
McCubbin Frederick reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
McNally M J reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Medworth Frank reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Melville Harden S reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Merrett Charles reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Micky the Cripple reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Minns B E reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.
Missingham Hal reference/sview full entry
Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.


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