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

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.

Molvig 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.

Murch Arthur 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.

Muskett Alice 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.

Newmarch Ann 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.

Nixon Bishop 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.

Norton 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.

O’Connor Vic 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.

Olley Margaret 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.

Orban Desiderius 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.

Pareroultja 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.

Peerless 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.

Patterson Ambrose 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.

Plate 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.

Ramsay Hugh 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.

Raper 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.

Rapotec Stanislaus 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.

Raworth 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.

Reed John and Sunday 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.

Richardson Charles 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.

Riley 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.

Ritchard Edgar 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.

Roberts 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.

Roberts Hera 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.

Robinson George Augustus 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.

Rooney 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.

Rose 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.

Rosengrave Harry 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.

Roth Constance 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.

Russell 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.

Russell Rebecca 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.

Russell 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.

Sansom Gareth 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.

Schell Frederick 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.

Scott Harriet 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.

Scott Montagu 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.

Scurry 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.

Shaw Roderick 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.

Shore Arnold 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.

Simpkinson Francis de Wesselow 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 Wesselow Simpkinson Francis 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.

Slade George Penkivil 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.

Smedley W T 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.

Smith 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.

Smith Bernhard 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.

Smith Eric 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.

Smith Gray 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.

Smith 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.

Smith Joshua 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.

Smyth Capt 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.

Society of Artists 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.

Society of Painters in Watercolour 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.

Society for the Promotion of Fine Arts in Australia 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.

Solander Daniel 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.

Souter D 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.

South Australian Society of Arts 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.

Spence Percy 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.

Stanley 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.

Stanley Owen 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.

Staunton Madonna 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.

Stephens Ethel 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.

Steuart Ronald 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.

Strachan David 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.

Tait Bess Norriss 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.

Terry F 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.

Taylor Major 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.

Thomas 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.

Thornton Wallace 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.

Tibbits 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.

Traill 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.

Tristram J W 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.

Upward 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.

Smith Sydney Ure 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.

Vancouver 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.

van den Houten H 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.

Verge 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.

Victorian Academy of Arts 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.

Victorian Artists’ 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.

Victorian Society of Fine Arts 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.

von Neumayer Geog Balthasar 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.

Wakelin Roland 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.

Walker 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.

Wallis Captain 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.

Warren Guy 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.

Watling 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.

Watson Jenny 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.

Webb Mary 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.

Webber 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.

Weinholt 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.

Withers Walter 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.

Woolner 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.

Woolner 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.

Coventry F 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.

Lowe Geoff 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.

Brown 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.

Boyd Merric 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.

Goldbeck E Oview full entry

Reference: see Andrew Smith Gallery Arizona LLC
Tucson, Arizona, USA, 18.7.2020. Lot 0246 Details
E O GOLDBECK Sydney, New South Wales, Australia ca. 1960 9x58" Signed Gelatin Silver Print 1980 c ASG# EG/002 Signed in ink by Goldbeck Lower Left

E. O. (Eugene Omar) Goldbeck (1892-1986) was the best know panoramic photographer of the 20th Century working out of his hometown of San Antonio, Texas. He called his business the National Photo News Service. In about 1910 he purchased a Cirkut Camera and thereafter specialized in making panorama views of groups, people, things, cities travelling the world. The Cirkut Camera was a rotation camera that could take 360-degree views.
CONDITION
Very Good. Two minor corner bends far left edge

Wright William 1937-2014view full entry

Reference: from artist’s website:
WILLIAM WRIGHT
1937 - 2014.                           Born: Sydney Australia,
1937 - 1959    Sydney Australia
1954 - 1958                             Attended National Art School, Sydney, Diploma in Painting (A.S.T.C.)
1959 – 1960 Florence
1959 – 1960                            Florence, Italy. Attended the Accademia di Belle Arti with part time study of
Restoration at the Museo del Accademia
1960 - 1976                             London, United Kingdom
1961                                        Attended Central School of Art and Design (printmaking, lithography)
1964                                        Attended Goldsmiths College, London (printmaking, relief etching)
1965                                        First Solo exhibition, Traverse Gallery, Edinburgh
1965 - 1968                             Exhibited in Edinburgh, London, Warsaw, Sydney, Melbourne, Adelaide.
1967                                        Solo exhibition Komon Gallery, Sydney
Solo exhibition Tolarno Galleries, Melbourne
1970 - 1976                             Head, Department of Painting, Winchester School of Art. U K.
1976 - 1981                             New York, Unites States of America
1976 - 1979                             Associate Dean (Programme Director) New York Studio School.
1979 -1980                              Acting Dean, State University of New York at Purchase.
1981 - 2014                           Sydney, Australia
1980 - 1982                             Artistic Director, Vision in Disbelief 4th Biennale of Sydney.
1982 - 1991                             Assistant Director Professional Art Gallery of New South Wales, Sydney
1992                                        Lecturer/coordinator, Post Graduate Museum and Gallery Management
                                                University of New South Wales
1982 - 1997                             Member, Board of Directors, Biennale of Sydney
1991 - 2002                             Curatorial Director, Sherman Galleries.
2002                                       Awarded the Australia Council Emeritus Medal
                                                 for services to art, art education, curatorship and artists.
2002 - 2005 Director, Sherman Galleries
2003                                        Appointed AM, Member of the Order of Australia
2003 - 2008 President, Australian Chapter, AICA (International Association of Art Critics)
2004 - 2014 Director, William Wright Consulting
2005 - 2008 Member, Board of Directors, NAVA (National Association for the Visual Arts)
2006 - 2010 Sherman Foundation Fellow in Contemporary Art
Department of Art History and Theory, University of Sydney
2009 - 2014 Tutor (painting), National Art School
2010                                        Appointed Fellow, National Art School
2010 - 2014    Director, William Wright • Artists Projects

EXHIBITIONS
Solo Exhibitions:
1965    Traverse Gallery, Edinburgh
1966    Richard Demarco Gallery, Edinburgh
1967    Rudy Komon Gallery, Sydney
Tolarno Galleries, Melbourne
North Adelaide Gallery, Adelaide
Edinburgh College of Art, 1967 Edinburgh Festival
British Architectural Association, London
1968    Essex University Gallery, Essex
Richard Demarco Gallery, Edinburgh
Continued studio practice but ceased actively exhibiting in 1968
2008 Triptych (3 solo exhibitions) Galerie Dusseldorf, Perth
2014    Eclipse, Drawing Room Gallery, Kings Cross, Sydney
2014     This is not an Exhibition, William Wright • Artist Projects, Sydney
Selected Group Exhibitions:
1966 Richard Demarco Gallery Inaugural Exhibition,
Contemporary British Artists, Edinburgh Festival.
Richard Demarco Gallery, Edinburgh
Australian Artists, South London Gallery, London
Gallery Artists, Richard Demarco Gallery, Edinburgh
1967    Contemporary British Painting, Gallery of the Union
of Polish Artists, Warsaw
1968    Edinburgh Festival Exhibition, Richard Demarco
Gallery, Edinburgh
1984    The 1960s, Art Gallery of New South Wales, Sydney
1985    20th Anniversary Exhibition, Traverse Gallery, Edinburgh
2008   Triptych. Dusseldorf Gallerie Perth.
2011    Triptych: Mais Mais Wright Wright
Drill Hall Gallery, Australian National University, Canberra
2012 Tr. 3, WW/Artists' Projects, Sydney
2013 ORBIT: works on paper, Drawing Room, Sydney
2014 Returning to The Field, SNO Contemporary Art Projects, Sydney
DE COLORI, WW Artists Projects, Sydney
2015 The Triumph of Modernism in the Art of Australia, Hazelhurst Regional Gallery, Hazelhurst
Tarrawarra Museum of Art, Victoria.
           Painting 1: ANGLE, EDGE, GRID. William Wright • Artists Projects, Sydney
REVIEWS:
1965    Cordelia Oliver, The Guardian, March
Sydney Goodsir-Smith, William Wright at the Traverse;
Painter who loves world, The Scotsman, March
1966 Edwin Mullins, The Sunday Telegraph,
London, August 21st
Cordelia Oliver, The Guardian, August
Terence Mullaly, London Daily Telegraph, 26th August
Cordelia Oliver, The Glasgow Herald, 24th August
Anne Matheson, Sunday Telegraph, Sydney 17th April
1967    Elwyn Lynn, William Wright at Komon, The Bulletin,
Sydney, March 4th
Elwyn Lynn Art & Australia(DATE?)
George Berger, The Jewish News, Sydney, March
Wallace Thornton, Sydney Morning Herald, March
Elwyn Lynn The Australian
Alan McCulloch, Stimulus to use of one colour,
The Melbourne Herald, Melbourne, April
Art that’s different and worthwhile
Melbourne Sun 18th April
Patrick McCaughey, Gifts and Guesses
The Age, Melbourne, 19th April
Martin Collins, The Australian, 21st April
Ronald Millar, The Australian, 29th April
Elizabeth Young, Adelaide
Guy Brett, The Times, London, August 25th
Cordelia Oliver, Six One-Man Shows, The Guardian,
London, August 23rd
John Russell, A Challenge Won, The Sunday Times,
London, August,
1968 S L, A square view of squares,
review, Essex University exhibition
2009 Douglas Sheerer, Many Hands: Mais Wright Work
Australian Art Collector, Jan - Mar, p 87
2011    Michael Desmond, Triad, Cat Essay Triptych Exhibition
Drill Hall Gallery, Australian National University, Canberra
Sasha Grishin Talented Family has Broad Brush
Canberra Times Weekend Review 15 Oct
Collections:
Art Gallery of New South Wales
Stirling University, Perthshire, Scotland
New England Regional Art Museum, New England
Richard Demarco European Art Foundation Collection
The University of Dundee, Dundee, Scotland
Australian National University, Canberra
             Tarra Warra Museum, Melbourne

Ashton Julianview full entry

Reference: see Hordern House catalogue, July, 2020:
Shipping on the Yarra - Early Morning
ASHTON, Julian Rossi.
Melbourne: circa 1880.
Watercolour on paper, 355 x 540mm, mounted and framed; signed lower right.
The Yarra River in dawn light

A lovely example of Ashton's atmospheric watercolours, illustrating his sensitive use of colour and light; the steam ships and the warehouses beyond are painted delicately at sunrise when the light is especially soft, whilst the Yarra River is bathed in a shimmering glow of subtle colour. This was one of six works that Ashton exhibited in the tenth exhibition of the "Victorian Academy of Arts" in 1880 (number 117), all of which drew high praise: "In each the artist has succeeded in exhibiting comparatively common place objects under a poetic aspect, without doing violence to nature; and in all he proves himself to have a remarkably fine eye for colour" (The Argus, Saturday April 3, 1880).
Julian Rossi Ashton (1851-1942) had exhibited at the Royal Academy of Arts, London before emigrating to Australia in 1878. He lived in Melbourne for five years before moving to Sydney where he dominated the Sydney art scene for over fifty years as an artist, teacher and patron, founding the "Julian Ashton Art School" in 1890. His early European training with the Academie Julien in Paris and at the West London School of Art encouraged French realism of the Barbizon School with its emphasis on "en plein air" painting. Later, as a trustee of the Art Gallery of New South Wales, Ashton became an avid promoter of Australian Impressionism. In the magazine "Home" (March 1924) Arthur Jose named him as one of 'the seven greatest living Australians' and in 1930 he was made a Commander of the Order of the British Empire.
Provenance: Private collection, Melbourne

Paynter John F Wview full entry

Reference: see Hordern House catalogue, July, 2020:
Logbook of HMS Hercules…
PAYNTER, John F.W.
At Sea and various ports: 1852-54.
Small folio, a neatly tabulated and written manuscript comprising 114 pp of Hercules Log [followed by 2 pp partly written and abandoned, at one time concealed by pasting together], and 28 pp of Royalist Log; altogether 22 images (see note); original journal binding of half green roan leather with marbled boards and endpapers.
Original log of a troubled Scottish emigrant voyage to Australia

A desirable original midshipman's log of a particularly interesting voyage to Australia, illustrated with most attractive unpublished drawings including a suite of four charts showing a dated track of the voyage, a fine double-page map of "Port Phillip 1853" with detailed soundings, and a series of sixteen coastal drawings, ten of them depicting Australian locations such as Kangaroo Island, Cape Shanck, North Head Port Jackson, Lord Howe and Norfolk Islands. Paynter, a "master's assistant" (approximately midshipman at this time of changing naval ranks), kept a diligent and very complete record of the voyage, carefully illustrating his log with these fine coastal profiles and maps.
This fateful voyage was commissioned by the Highlands & Islands Emigration Society, a charitable enterprise which, conscious of the need for settlers in the colonies, sought to resettle impoverished Scots and thus (perhaps not so charitably) release Scots landlords by a clearance of unprofitable tenancies. The Hercules took on some 840 of these emigrants, headed for South Australia and Victoria. They could have been forgiven for thinking themselves ill-fated: the ship sailed from Campbeltown (Argyllshire, Scotland) on 26 December 1852 but ran into a storm which forced them after five days into an anchorage off Rothesay, in the Isle of Bute. After weathering the storm, the ship set out again on 14 January 1853 but almost immediately both smallpox and typhus broke out aboard and as a result the Hercules had to put into Ireland and undergo a three-month quarantine off Cork before finally sailing, arriving on 26 July in Adelaide, where 194 disembarked, and sailing on to Port Phillip where the remaining 183 emigrants were landed. Sydney was also a port of call.
The ship then went on to Hong Kong where she was to be used as a hospital hulk for the garrison. She served this purpose until being deemed unseaworthy and beyond repair in 1865.
---
One of those affected by the smallpox epidemic off Cork was Paynter himself, appearing on the ship's sick list with "variola" on 26 February 1853; two days later he was put ashore to the Haulbowline naval hospital in Cork (source: https://discovery.nationalarchives.gov.uk/browse/r/h/C4107014 and https://discovery.nationalarchives.gov.uk/details/record?catid=-6112800&catln=7). He would survive, though the ship's surgeon and nurse matron were not so fortunate, and fifty-six emigrants died; seventeen consequently orphaned children were returned to Scotland. Many of the emigrants were assigned to other ships and in the process several family groups were separated for the voyage to Australia. Only 380 emigrants finally sailed; the remaining 300 or so were distributed between twelve various vessels in 1853.
Paynter did not miss a day in his log as he moved from the Hercules once in Hong Kong to an eastbound sloop, the Royalist, beginning his log of that ship the very next day; that section occupies the final 28 pp. as "Log of H.M. Sloop Royalist. W.J. Bate Esq. Commander" and records all details from Hong Kong (27 December 1853) to Simons Bay - modern Simon's Town, Cape Town - where the log finishes on 24 March 1854.
Paynter's record of the Hercules voyage includes daily details of the working of the ship, and of the places that came in sight as they approached or reached land. Largely because of the enforced quarantine off Ireland and the arduousness of the voyage itself, there are significantly more details about the emigrants than one might expect to find in a more standard log of the type and period. In terms of new information, Paynter records such things as the death of individual passengers and includes many details of the route that was taken.
The visits to Adelaide and Port Phillip are of extra interest, dating as they do from a time when the population and emigration explosions were reflecting the gold rushes of the early 1850s. Also, we should note the special features of the so-called "Highland project" which brought so many new immigrants to such cities as Adelaide and Port Phillip which as freely-settled were quite different from the penal colony cities.
The volume of Scottish immigration from the 1830s to the 1850s has proved a very substantial field for study with a wide-ranging literature already in print, no doubt in part addressing the pride of descendants. The Scottish diaspora has been increasingly celebrated, for example in the wonderful exhibition "For Auld Lang Syne: Images of Scottish Australia from First Fleet to Federation" at the Art Gallery of Ballarat in 2014.

The images
The images added to his log by Paynter have a real presence. They comprise:
A full page "Plan of the Holds"
Four full-page attractively drawn charts showing the progress of the voyage, with dated tracks, from (1) Queenstown to the Equator; (2) from the Equator to the Cape of Good Hope; (3) through the Indian Ocean showing the African coast, Madagascar, Bourbon and Mauritius, St Paul and Amsterdam Islands; (4) along the south coast of Australia to Port Philip showing entire coast as well as Tasmania and Bass Strait.
A double-page map entitled "Port Phillip 1853" with detailed soundings.
Sixteen drawings, mostly of Australian locations, are as follows:
South Africa
Cape of Good Hope
Noahs Ark and a cape beyond from anchorage in Simon's Bay
Australia
Cape Willoughby and Lighthouse Kangaroo Island
Cape Flinders New Holland
Cape Shank South Australia
Sir Roger Curtis Group Bass's Strait
Sydney North Head
Sydney Watsons Bay
Balls Pyramid
Lord Howe Island [and] Balls Pyramid
Philip Island
Norfolk Island
Melanesia
Mitre Island [looking north]
Mitre Island [looking east]
Micronesia
Oulam or Strong's Island
Pedro Blanco

Literature on the voyage
There is a considerable literature on this voyage, starting with W.B. Clark's HMS Hercules Scottish Emigration Ship (1989), and followed by a number of recent studies including Robin Haines's Doctors at Sea: Emigrant Voyages to South Australia (2005), Rowan Strong's Victorian Christianity and Emigrant Voyages to British Colonies (2017), and Ian McPhee's The Naked Clansmen on Mull & Iona (2020).
There is also much online: for example, the Highlands & Islands Emigration Society in Australia has collected extensive material (see http://www.theshipslist.com/accounts/hies_hercules.shtml). A list of the ship's passengers can be found at http://www.theshipslist.com/ships/australia/hercules1853.shtml. In Scotland, the National Records has further relevant details at https://www.scotlandspeople.gov.uk/record-guides/highland-and-island-emigration-society-records#Ship%20sailings. The maintenance of these records attests to the ongoing importance of the voyage for the descendants of those who emigrated and still today revere their Scottish and Highland heritage.
Another website devoted to the Hercules can be found at http://www.angelfire.com/ns/bkeddy/HIES/hercules.html.

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Provenance: Recent private owner in the US who advised that "In terms of provenance, I bought this item a long time ago at a high-end antique show in New Jersey."

Woolner Thomasview full entry

Reference: Tiresias, by Thomas Woolner. [Poems].
see Hordern House catalogue, July, 2020:
Friend of Tennyson and Sir Charles Latrobe's sculptor. Author's signed presentation copy: a long narrative poem recounting the pantheistic vision of the blind sage Tiresias.
A founding member of the pre-Raphaelite Brotherhood, and the only sculptor, Thomas Woolner (1825-1892), like so many of his contemporaries, was lured to the Australian goldfields in the hope of securing a fortune. After six months without success he settled briefly in Melbourne where he won a number of commissions including a medallion of Governor Latrobe, and in Sydney, a portrait of Sir Charles Fitzroy, Sir Charles Nicholson, Sir Redmond Barry, Admiral Phillip Parker King and several members of the G. W. Cole, Macarthur and Howitt families. In 1879, during the height of his successful career, he was commissioned to sculpt the statue of Captain Cook which stands in Hyde Park, Sydney. Sir Henry Parkes had arranged for Woolner to execute statues of Sir Charles Cowper, Sir James Martin and Wentworth, but in late 1891 the new government of (Sir) George Dibbs cancelled the commission. Woolner, famous as both a poet and sculptor, once said 'Poetry is not my proper work in this world; I must sculpture it, not write it'.
From Australian Book Auctions, March, 2021: ‘A scarce book of poems, with tipped-in presentation slip signed by the author, by the artist and sculptor Thomas Woolner, who had come to the Victorian goldfields to make his fortune. Without success as a digger, he removed to Melbourne where he found work as a sculptor and portrait painter, producing a medallion of Governor Latrobe and a portrait of Sir Redmond Barry, among others. Moving to Sydney he painted a number of notable portraits, including Sir Charles Fitzroy and Admiral Phillip Parker King, as well as sculpting the well-known statue of Captain Cook in Hyde Park.’
Publishing details: London: George Bell, 1886.
Octavo; uncut copy in original red cloth, gilt device on upper board.

Hudson Mikeview full entry

Reference: Hudson (Mike) & Jadwiga Jarvis
PRIVATE IMPRESSIONS:
a second collection of four monographs about printing and other book arts.
Pp. [x]+viii +68 (printed in blue, yellow/brown and black with some other single colours, last blank), hand-tipped coloured frontispiece ( numbered and signed by Mike Hudson), text illustrations ( mostly black & white, plus 1 coloured folding), 4 large coloured decorative initials, coloured typographic endpapers; f'cap. folio; dark green cloth with printed paper labels inlaid on upper board; within olive green card slipcase. [with Kay Craddock - Antiquarian Bookseller, 2020]
Publishing details: Wayzgoose Press, Katoomba, NSW, 2001. Edition limited to 15 numbered copies, signed by the publishers; one of 12 copies.
Ref: 1000

Syme David and Annabellaview full entry

Reference: David & Annabella SYME. Gift album of watercolours of their Yarra Valley properties in Victoria.
A beautiful album bound in full leather, with gilt edges and containing stunning watercolours of Killara and Dalry, both properties in the Yarra Valley. Killara was once owned by David Mitchell, Dame Nellie Melba’s father, who sold the property to David Syme in 1883. Syme owned and operated 'The Age' newspaper in Melbourne from 1860 until his death in 1908. He farmed both Killara and Dalry for many years, together with Tarrawarra which he bought in 1893. He was a pioneering farmer in Victoria as a livestock owner and an orchardist.
Containing 24 superb watercolours by J. Macfarlane, with hand-written captions, the album was a gift from the Syme children to their parents David and Annabella in 1894.
J. Macfarlane was a painter in the late colonial period, as well as a political cartoonist and illustrator. He did many historical drawings of Australian exploration subjects, including the expeditions of Sturt, Mitchell, Henty, Leichhardt, McDouall Stuart, Forrest and Eyre.
The condition of the album and the watercolours is fine.
with Justin Healy Antiquarian Booksellers, July 2020.

Syme Annabella and David view full entry

Reference: David & Annabella SYME. Gift album of watercolours of their Yarra Valley properties in Victoria.
A beautiful album bound in full leather, with gilt edges and containing stunning watercolours of Killara and Dalry, both properties in the Yarra Valley. Killara was once owned by David Mitchell, Dame Nellie Melba’s father, who sold the property to David Syme in 1883. Syme owned and operated 'The Age' newspaper in Melbourne from 1860 until his death in 1908. He farmed both Killara and Dalry for many years, together with Tarrawarra which he bought in 1893. He was a pioneering farmer in Victoria as a livestock owner and an orchardist.
Containing 24 superb watercolours by J. Macfarlane, with hand-written captions, the album was a gift from the Syme children to their parents David and Annabella in 1894.
J. Macfarlane was a painter in the late colonial period, as well as a political cartoonist and illustrator. He did many historical drawings of Australian exploration subjects, including the expeditions of Sturt, Mitchell, Henty, Leichhardt, McDouall Stuart, Forrest and Eyre.
The condition of the album and the watercolours is fine.
with Justin Healy Antiquarian Booksellers, July 2020.

Stewart Eric 1903 – 1970view full entry

Reference: at Bridget McDonnell Gallery, July 2020.
Eric L. Stewart 1903 – 1970
Ayers Rock 1959
Oil on canvas
86.3 x 129 cm
Signed and dated; also signed, dated and inscribed artist on reverse
Provenance: The Berry collection, Melbourne
Exhibited: Modern Australian Paintings, Bridget McDonnell Gallery, August 2010, no. 18
Eric Stewart was a self-taught artist. His paintings were inspired by books on indigenous culture including Myths and Legends of the Australian Aborigines by W. Ramsay Smith, 1930; Brown Men and Red Sand by Charles P. Mountford, 1948 and Aboriginal Myths and Legends by Roland Robinson, 1966. He painted during the 1950s and '60s, a time when an appreciation of indigenous culture was rare.

Baylis Clifford 1912-1989view full entry

Reference: at Bridget McDonnell Gallery, July 2020.
Clifford Bayliss 1912-1989
View from Wings, Scenes de Ballet 1952
Designer: André Beaurepaire
Gouache
76 x 52 cm
Signed and dated 1952
Provenance: Estate of the artist, London. Exhibited: Clifford Bayliss, Paintings, drawings and sculptures from the estate of the artist in London, Bridget McDonnell Gallery, November, 2007, no. 20
Melbourne artist, Clifford Bayliss won the National Gallery School, Travelling Scholarship in 1935. He worked full time as Production Assistant at the Royal Opera House, Covent Garden, from 1955 - 1963 and part time before that. His works are represented in many major Australian public collections.
and
Stage design for Medea, starring Maria Callas, ROH, Covent Garden, London 1959
Mixed media
36 x 55.5 cm
Inscribed on reverse Medea cyclorama round
Provenance: Estate of the artist, London
Exhibited: Clifford Bayliss, Paintings, drawings and gouaches 1940s-1980s from the estate of the artist, London, Bridget McDonnell Gallery, September, 2011, no. 13.

Lees Derwent 1884-1931view full entry

Reference: at Bridget McDonnell Gallery, July 2020.
Derwent Lees 1884-1931
Sketch of Lyndra c 1913
Pencil, 31 x 24 cm
Provenance: Redfern Gallery, London; John & Edward Barkes
The Australian artist, Derwent Lees, “...travelled to London to attend the Slade School from 1905 to 1907.
While still studying, he was invited to join the academic staff and he taught drawing at the Slade from 1908 to 1918. His close associates in London included J. D Innes and Augustus John and, around the period from 1910 to 1913, he worked with them in Dorset and Wales, painting lyrical landscapes in vivid colours on small wooden panels. He travelled widely in Europe and, during 1912 to 1914, visited the south of France. He died in hospital in Surrey on 28 March 1931, aged 46. ... Derwent Lees met his wife, Edith Brice, known as Lyndra, through Augustus John, for whom she had modelled”
Ref. T he Edwardians, Secrets and Desires, Anna Gray, National Gallery of Australia, 2004.
Derwent Lees is represented in many important public collections in Australia and the United Kingdom.

Gould Elizabethview full entry

Reference: The Story of Elizabeth Gould by Alec H. Chisholm.

Publishing details: The Hawthorn Press Melbourne 1944. 8vo, 74pp.
Hardcover, bookcloth, gilt titles on front and spine, excellent condition.
Portrait frontis, a limited edition of 350 copies were designed and printed by John Gartner at The Hawthorn Press.
Ref: 1000

Stones Margaretview full entry

Reference: The Endemic Flora of Tasmania in 6 Parts. Author CURTIS, Winifred & STONES, Margaret (paintings).
[’A mammoth task of painting so many species of Tasmania which would occupy Stones for over twelve years. Stones was also the principle contributing artist to Curtis's Botanical Magazine producing over 400 illustrations.’]
Publishing details: London, The Ariel Press, 1975-1978 Hardcover, folios, volumes in good condition but for small tear to bottom of dustjacket of Part V, there are 155 coloured plates in the 6 parts, pagination is from Part 1 to Part VI 478pp. with index of plant names for all 6 parts, index for each volume.
Ref: 1000

Watling Thomas attributedview full entry

Reference: [Watling, Thomas, attributed].
AUSTRALIAN BOTANICAL ILLUSTRATIONS FROM THE NATURALIST'S POCKET MAGAZINE OR COMPLEAT CABINET OF NATURE...
[’Exquisite small images of the extraordinary flora from New South Wales, first introduced to the European public in 1790 in John White', the surgeon for the First Fleet. "Journal of a Voyage to new South Wales with Sixty-five Plates of Non descript Animals, Birds, Lizards, Serpents, curious Cones of Trees..." The images have a primitive quality reminiscent of folk art. Three of the images are somewhat inspired from White's book- Peppermint of New South Wales; Banksia Pyriformis & Banksia Serrata. Others include Honey Flower of New South Wales; Metrosideros Lanceolata: Banksia Incognita; War-Re-Taw (Waratah); Grass Gum Tree. All but two bear the publishing line beneath of Harrison Cluse, & Co. No. 78 Fleet Street, with dates varying from Sept. 1, 1798 to Jan. 26, 1799. It is thought that they are based on paintings by Thomas Watling, a convict with tremendous artistic skill. He was assigned to aid John White (book above), David Collins ("An Account of the English Colony in New South Wales") and Governor John Hunter ("An Historical Journal of the Transactions at Port Jackson...").

This comprises eight of the 20 Australian images published in this work and are the more iconic Australian images that would have been so remarkable to European viewers. 3 1/2 x 5 3/4", copper engravings with original hand color. Some minor toning, a couple with the slight shadow of text offsetting, overall very good condition.

At Antipodean Books, Maps & Prints, July 2020.
Publishing details: London: Harrison Cluse & Co., 78 Fleet Street, 1798-9.
Ref: 1000

Rider & Mercer.view full entry

Reference: At Antipodean Books, Maps & Prints, July 2020.
Rider & Mercer.
Views of Fremantle W.A. in 1892.
Ballarat, Victoria: Rider & Mercer, 1892. A scarce "Supplement to the West Australian and the Western Mail". The central view is of Fremantle Harbor without docks. It is surrounded by various small views of Fremantle and advertisements for Fremantle merchants. In the lower left corner it states; "The advertisements on this sheet are contracted for by Wellesley A. Parker Palace Hotel, Melbourne, Vic.". In excellent condition - a small fold intersection in a blank area with very slt. loss and a couple of minor closed tears in margin. Approximately 37 x 24" plus margins. Read more here.

Gleghorn Tomview full entry

Reference: Homeward Bound: the art and life of Tom Gleghorn, Newcastle Art Gallery, 9 May - 19 July 2020.
‘ART has taken Tom Gleghorn a long way in life.

In his 94 years, Gleghorn has painted his way from the shores of Lake Macquarie, where he grew up, into galleries around the world.

His work has transported him to the Mediterranean, along the streets of London, and into the Australian outback. It has propelled him to the heights of Australian art, exhibiting with John Coburn, Donald Friend, and Robert Dickerson, and it has driven him deep into his own soul.

Gleghorn describes himself as ‘an ordinary man who has chosen painting as something to do’, but he is considered one of Australia’s finest and most influential abstract expressionists.

Yet no matter where he has gone, no matter where art has taken him, Tom Gleghorn has retained a strong connection to Newcastle and Lake Macquarie.

‘It is sort of a home anchor,’ says Gleghorn, who lives in Adelaide. ‘It’s a huge part of my life, because I grew up there. A home away from home.’

Tom Gleghorn’s first solo exhibition of paintings was held at Newcastle Art Gallery in 1959. The show was opened by an admirer and collector of Gleghorn’s paintings, the Nobel Prize-winning writer Patrick White.

Sixty-one years after that exhibition, Tom Gleghorn is homeward bound, with Newcastle Art Gallery staging the first major survey of his work.

HOMEWARD BOUND: the art and life of Tom Gleghorn will feature paintings and drawings from across the artist’s extraordinary career of more than 70 years. The works from private and public collections will allow the viewer to journey through Tom’s world, including his memories in paint of the lake and Newcastle of his youth.

Ultimately, in HOMEWARD BOUND, we can see how far Tom Gleghorn has come, how deeply he has explored, and how much this region has shaped him and has inspired his art.
Scott Bevan, July 2019’
Publishing details: Newcastle Art Gallery, 2020, 8pp (photocopy)
Ref: 138

Kebbell William Francis Vere 1888-1963view full entry

Reference: see HALLS FINE ART AUCTIONEERS, UK, 15 July, 2020, lot 340:
William Francis Vere Kebbell (1888-1963), Portrait of Joanna Denise Vere Kebbell, half length wearing a blue velvet dress seated before an open window, signed top right, pastel, 59 x 50cm Notes: William Kebbell was born in Queensland, Australia in 1888 and forged a successful carrer as a portrait painter in London. He was a member of the Ipswich Art club from 1922 - 1926 and also exhibited regularly at the Royal Academy. He specialised in pastels and was a member of the Pastel society, Royal Institute of oil painters; he also found a commercial outlet for his work through the Walker Gallery. The sitter in this work is Joanna Kebbell; the daughter of William Kebbell. She was an accomplished ballerina who trained with the Bolshoi. She also enjoyed a successful career as a dance teacher and choreographer.

Also:
William Francis Vere Kebbell (1888 - 1963), Collection of Portraits in Pastel
Halls Fine Art Auctioneers
William Francis Vere Kebbell (1888-1963), A collection of four pastel portraits, three of Joanna Denise Vere Kebbell.

William Francis Vere Kebbell (1888-1963), Memories, Still life, signed top right, Mall Galleries label verso, pastel, 61 x 50cm

William Francis Vere Kebbell (1888-1963), Still life of Flowers, oil on canvas
Halls Fine Art Auctioneers
William Francis Vere Kebbell (1888-1963), Still life of flowers, signed top right, oil on canvas, 77 x 63cm William Kebbell was born in Queensland...
William Francis Vere Kebbell (1888-1963), Two Still Life pastels
Halls Fine Art Auctioneers
William Francis Vere Kebbell (1888-1963), Still life of flowers in a glass vase, signed bottom right, pastel, 54 x 45cm, together with a further  80 - 120 GBP
William Frederick Vere Kebbell (1888-1963), Still Life with Jade necklace, pastel
Halls Fine Art Auctioneers
William Frederick Vere Kebbell (1888-1963), Still life with Jade Necklace, signed top left, Mall Galleries label verso, pastel, 52 x 45cm together...

Location: Shrewsbury

Gant Alfred Stanley 1917 - 1984view full entry

Reference: see Burstow & Hewett auction, UK, 15 July, lot 1084:
Alfred Stanley Gant (1917 - 1984), oil on board, Australian gum trees, signed and dated 1962?, 12" x 16", This work appears to have artist’s biography on the reverse.

Chevalier Nicholas attrib portrait of Queen Victoriaview full entry

Reference: see DOMINIC WINTER AUCTIONS, 31 July, 2020, lot 438:
Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "

NOTES

Provenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Indeed it is known that a copy was made for Government House in Sydney, and therefore this may have been that copy (whose current whereabouts we have been unable to establish). Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).

Bennett Franklinview full entry

Reference: see Esso calendar of Australian artists, referred to in ‘Appointment Northwest’ by Peter Skrzynecki, p322.

photographyview full entry

Reference: see Sun Pictures of Victoria - Aboriginal and goldrush images (the Fauchery-Daintree Collection 1858). Australian photography.
Publishing details: Curry O’Neil, 1983, hc, dw, 143pp

Daintree Richardview full entry

Reference: see Sun Pictures of Victoria - Aboriginal and goldrush images (the Fauchery-Daintree Collection 1858). Australian photography.
Publishing details: Curry O’Neil, 1983, hc, dw, 143pp

21ST CENTURY BEGINNINGSview full entry

Reference: 21ST CENTURY BEGINNINGS. The Corrigan Collection of Aboriginal Art. [to be indexed]
Publishing details: QLD. Gold Coast City Gallery. 2011. Oblong 4to. Col.Ill. wrapps. 39pp. Full Col.ills
Ref: 1000

Dancing Up Countryview full entry

Reference: see Dancing Up Country the art of Dorothy Napangardi

Publishing details: Syd. Museum of Contemporary Art. 2002. 4to. Col.Ill.wrapps. 87pp. Colour plates.

Gatherings IIview full entry

Reference: Contemporary Aboriginal and Torres Strait Islander Art from Queensland Australia, compiled by Marion Demozay
Publishing details: Qld. Keeaira Press, 2006. Oblong 4to. Col.Ill.wrapps. 223,224pp. Profusely illustrated in colour.
Ref: 1000

Ganambarr Gunybiview full entry

Reference: GUNYBI GANAMBARR. From My Mind. Barks, Sculpture, Multi-media Works.
Publishing details: Syd. Annandale Galleries. 2012. Oblong 8vo. Or.bds. 67pp. Col.ills. Edition of 650 copies.
Ref: 1000

OCHRE AND RUSTview full entry

Reference: JONES, Philip. OCHRE AND RUST. Artefacts & Encounters on Australian Frontiers. ‘Takes various Aboriginal artefacts & traces their many varied histories.’
Publishing details: Adel. Wakefield Press. 2007. Or.bds. Dustjacket. 440pp. Many Col.& b/w ills. 1st ed.
Ref: 1000

Aboriginal artview full entry

Reference: JONES, Philip. OCHRE AND RUST. Artefacts & Encounters on Australian Frontiers. ‘Takes various Aboriginal artefacts & traces their many varied histories.’
Publishing details: Adel. Wakefield Press. 2007. Or.bds. Dustjacket. 440pp. Many Col.& b/w ills. 1st ed.

AUSTRALIAN ABORIGINAL ROCK ARTview full entry

Reference: McCARTHY, Frederick David. AUSTRALIAN ABORIGINAL ROCK ART.
‘Art is an important & integral part of Australian Aboriginal culture. Painting & engraving on rock is part of a rich heritage that has been expressed throughout the continent.’
Publishing details: Syd. The Australian Museum. 1979. 4to. Col. Ill.wrapps. 91pp. Light discolouration to pages. Profusely illustrated in colour and black & white. Fourth Edition.
Ref: 1000

McCARTHY, Frederick Davidview full entry

Reference: see McCARTHY, Frederick David. AUSTRALIAN ABORIGINAL ROCK ART.
‘Art is an important & integral part of Australian Aboriginal culture. Painting & engraving on rock is part of a rich heritage that has been expressed throughout the continent.’
Publishing details: Syd. The Australian Museum. 1979. 4to. Col. Ill.wrapps. 91pp. Light discolouration to pages. Profusely illustrated in colour and black & white. Fourth Edition.

Aboriginal artview full entry

Reference: see McCARTHY, Frederick David. AUSTRALIAN ABORIGINAL ROCK ART.
‘Art is an important & integral part of Australian Aboriginal culture. Painting & engraving on rock is part of a rich heritage that has been expressed throughout the continent.’
Publishing details: Syd. The Australian Museum. 1979. 4to. Col. Ill.wrapps. 91pp. Light discolouration to pages. Profusely illustrated in colour and black & white. Fourth Edition.

Aboriginal artview full entry

Reference: see T]ukurrpa: Desert Dreamings - Aboriginal Art from Central Australia (1971-1993) ,Michael O'Ferrall, Perth.
Publishing details: Perth. Art Gallery of W.A. 1993. Exhibition Catalogue. Oblong 4to. Col.Ill. wrapps. 60pp. Col ills.

ornithological artview full entry

Reference: see Birds: The Art of Ornithology, by Jonathan Elphick (Author). With 36 Frameable Prints Hardcover. ‘...a stunning boxed set that comes with a richly illustrated book and thirty-six framable prints, this landmark book will fascinate anyone interested in birds, natural history, and art. With an outstanding selection of the most important and vibrant bird images from the unrivaled collection at the Natural History Museum in London, it includes works by some of the most famous natural-history artists ever published, including Audubon, Lear, MacGillivray, and Gould.’
Publishing details: Skira, edition 2017, 224 pp.

Birds - The Art of Ornithology view full entry

Reference: Birds: The Art of Ornithology, by Jonathan Elphick (Author). With 36 Frameable Prints Hardcover. ‘...a stunning boxed set that comes with a richly illustrated book and thirty-six framable prints, this landmark book will fascinate anyone interested in birds, natural history, and art. With an outstanding selection of the most important and vibrant bird images from the unrivaled collection at the Natural History Museum in London, it includes works by some of the most famous natural-history artists ever published, including Audubon, Lear, MacGillivray, and Gould.’
Publishing details: Skira, edition 2017, 224 pp.
Ref: 1000

Gould Johnview full entry

Reference: see Birds: The Art of Ornithology, by Jonathan Elphick (Author). With 36 Frameable Prints Hardcover. ‘...a stunning boxed set that comes with a richly illustrated book and thirty-six framable prints, this landmark book will fascinate anyone interested in birds, natural history, and art. With an outstanding selection of the most important and vibrant bird images from the unrivaled collection at the Natural History Museum in London, it includes works by some of the most famous natural-history artists ever published, including Audubon, Lear, MacGillivray, and Gould.’
Publishing details: Skira, edition 2017, 224 pp.

Australian Parrotsview full entry

Reference: FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.
Ref: 1000

John C Yrizarryview full entry

Reference: see FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.

Forshaw Joseph Mview full entry

Reference: see FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.

birdsview full entry

Reference: see FORSHAW, Joseph M. AUSTRALIAN PARROTS. With five paintings by John C. Yrizarry.
Publishing details: Pennsylvania. Livingston Publ. Co. 1972. 2nd U.S. printing. Folio. Or.bds. Dustjacket. xiv,306pp. Many tipped-in colour plates.

MONUMENTAL AUSTRALIAN ARCHITECTUREview full entry

Reference: JIAN, Sophie Ailing (Ed.) MONUMENTAL AUSTRALIAN ARCHITECTURE. Outstanding examples of large-scale architectural works from urban and country centres around Australia.
Publishing details: NSW. BT Latitude. 2001 Folio. Or.bds. Dustjacket. 220pp. Profusely illustrated with colour plates & black & white
illustrations.
Ref: 1000

Architectureview full entry

Reference: see JIAN, Sophie Ailing (Ed.) MONUMENTAL AUSTRALIAN ARCHITECTURE. Outstanding examples of large-scale architectural works from urban and country centres around Australia.
Publishing details: NSW. BT Latitude. 2001 Folio. Or.bds. Dustjacket. 220pp. Profusely illustrated with colour plates & black & white
illustrations.

Endangered species of Australia view full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.
Ref: 1000

Knight F view full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.

Slater P view full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.

Cooper Wview full entry

Reference: Poster. Ovington, J. D. (John Derrick)
Title: Endangered species of Australia [chart] / researched by Derrick Ovington ; artists F. Knight, P. Slater and W. Cooper

Publishing details: Rozelle, N.S.W. : Standard Publishing House, c1990
1 poster : col. ; 71 x 49 cm.

AUSTRALIAN ENDANGERED SPECIESview full entry

Reference: OVINGTON, Derrick. AUSTRALIAN ENDANGERED SPECIES. Mammals, Birds & Reptiles. 8 plates by various artists.
Publishing details: NSW. Cassell Australia Ltd. 1978. Folio. Or.bds. Dustjacket. 183pp. Profusely illustrated in colour and black & white & many col plates. 1st ed.
Ref: 1000

Jennings Wendyview full entry

Reference: SCHURMANN, Ted & JENNINGS, Wendy. AUSTRALIAN BIRDWATCHER’S DIARY.
‘Fifty magnificent colour paintings by Wendy Jennings make this an indispensable addition to any Australian birdwatcher's library.’
Publishing details: Adelaide. Rigby Publishing. 1984. 4to. Or.bds. Dustjacket. 97pp. Profusely illustrated in colour.
Ref: 1000

Stepnell Ken photographerview full entry

Reference: STEPNELL, Ken (Photography) & DALBY, Jane ( Text). AUSTRALIAN BIRDS.
Publishing details: NSW. Child & Henry Publishing. 1986. Folio. Col.Ill.bds. 63pp. Profusely illustrated in colour.
Ref: 1000

photographyview full entry

Reference: see Slater, Peter, Masterpieces of Australian Bird Photography. Each photograph is accompanied by a brief text, often including comments by the photographer on the philosophy behind his work.
Publishing details: Rigby 1980, hc, dw, Illustrated with Colour and Black & White Photographs. 191 pages

Wall Dorothyview full entry

Reference: WALL, Dorothy. THE TALE OF BRIDGET AND THE BEES. Nine Col.plates & many b/w ills. by the author. [Editions: 1) Tale of Bridget and the Bees written and illustrated by Dorothy Wall. London, Methuen, 1934. 56 pages. 4 colour plates, 4 sepia colour plates and black and white text illustrations. Muir 7827. First edition. 17x21cm. Original decorated boards. 2) The Tale of Bridget and the Bees written and illustrated by Dorothy Wall. First American edition. New York, Artists and Writers Guild, 1935. 45 4 colour plates and black and white text illustrations. Muir 7828. 17x21cm. Original decorated boards. ]
Publishing details: Lond. Methuen & Co. 1934. Or.col.ill.bds. 56pp.
Ref: 1000

Gillespie Rowan Irish b1953view full entry

Reference: see DE VERES ART AUCTIONS, Dublin, Ireland, 23 July, 2020, lot 43:
Rowan Gillespie b.1953
CONVICT WOMAN
Bronze, 18” high (46cms)

From 1803 to 1853, almost 13,000 Irish convict women, together with 2,000 children, were transported to Tasmania. The Footsteps Towards Freedom project was inspired by the experiences of those who made the journey and were imprisoned at Hobart's historic Cascades Female Factory site.

Three women and two children were immortalised in bronze sculptures by Rowan Gillespie, on Hobart's Macquarie Wharf — the arrival point for the convicts. Working in isolation for weeks, he modeled the figures on the living descendants of convict women and children and used photographs and 3-D scans to help craft the likeness of Tasmanian models in his purpose-built foundry. This work is of a young woman accused of stealing cattle.

"It sounds sort of stupid but I talk to the sculptures, I live with them and I have this thing that I really believe that I know them as the process happens, so you get very emotional," he said.

Four sculptures are installed on Hobart's historic Macquarie Wharf — the arrival point for many women and children who came to Van Diemen's Land. Each tells a different story of the hardship of life for women and children in the penal colony.

President Michael D Higgins at the unveiling ceremony said the women were to be admired.
"The crimes for which they were transported were often petty crimes, it would seem now — the theft of food or a few coins, a watch or shawl stolen to try to sustain a starving family — desperate acts of destitute individuals," he said.

Smith Colvin 1911-1977view full entry

Reference: see The Collector
July 19, 2020, 7:00 PM AEST
Murrumbeena, Australia
Timed Auction, lot 76, Colvin Smith (1911-1977) Framed Oil Painting - Tamar River from Low Head, Tasmania, June 1947 - Signed lower right, titled & dated verso - image size 19x24cm HxW, frame size 29x34cm

Lai James view full entry

Reference: Day Gallery exhibition, July, 2020:
James Lai BIO
Sydney-based landscape painter, James Lai creates contemporary semi abstract landscape works using his distinctive inventive and primitive style.
"Inspired by the multi-faceted Australian landscape, from its majestic mountain ranges and valleys to the rugged rural country, I find a constant urge to portray nature in its raw beauty and with its sense of freedom with paint. Painting in a semi abstract style allows me to express my interpretation of the unique elements and nuances that can be found in every landscape scene. My works are created with a strong focus on vision, the process of abstraction, colour palette and striking a fine balance between technical and emotion."
James was a finalist in the 2020 Alice and Lethbridge art prizes; and the 2019 Paddington, Hornsby, Hawkesbury and Blacktown City art prizes.
Publishing details: Day Gallery
27-29 Govetts Leap Rd | Blackheath | NSW
Ref: 1000

Johnstone O’Shannessy & Co Artist Photographersview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 photography catalogue,
Miss Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw.
[Title from inscription on accompanying window mount]. [Melbourne. January, 1869]. Albumen print photograph overpainted in oils, carte de visite format, 102 x 62 mm (mount), verso with imprint of ‘Johnstone, O’Shannessy & Co., Artist Photographers, 3 Bourke St. East, Next the Post Office, Melbourne’; the print, including the overpainted sections, is in fine condition, while the mount has some light foxing to the verso; [together with] the carte’s original window mount bearing the nineteenth century inscription ‘Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw’.
A superb example of a colonial overpainted photographic portrait, done for a Melbourne society wedding at St. Peter’s Church of England in East Melbourne in the summer of 1868-69 by one of the city’s most exclusive studios. The overpainting was executed by a highly skilled colourist: the subtle “overstrokes” suggesting the folds and pleats on the bridesmaids’ dresses add a three-dimensional quality to the image.
For biographical information on the possible colourist, see the entry on James Waltham Curtis on DAAO.
From the marriage notices in The Argus, Melbourne, 7 January 1869: MARRIAGE. McGAW—McNEILL. —On the 6th inst., at St. Peter’s Church, by the Rev. H. H. P. Handfield, J. McGaw, Esq., of Burrabogie, New South Wales, to Frances Hayden, daughter of the late Hugh McNeill, Esq., of Annavale, County Antrim, Ireland.
From birth notices in The Argus, Melbourne, 4 June 1870: McGAW.—On the 2nd inst., at 7 Royal-terrace, Nicholson-street, the wife of J. McGaw, Esq., Burrabogie Station, N.S.W., of a daughter.

Curtis James Waltham view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Miss Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw.
[Title from inscription on accompanying window mount]. [Melbourne. January, 1869]. Albumen print photograph overpainted in oils, carte de visite format, 102 x 62 mm (mount), verso with imprint of ‘Johnstone, O’Shannessy & Co., Artist Photographers, 3 Bourke St. East, Next the Post Office, Melbourne’; the print, including the overpainted sections, is in fine condition, while the mount has some light foxing to the verso; [together with] the carte’s original window mount bearing the nineteenth century inscription ‘Motherwell and Miss Champ (afterwards Lady Philp), bridesmaids to Fanny McGaw’.
A superb example of a colonial overpainted photographic portrait, done for a Melbourne society wedding at St. Peter’s Church of England in East Melbourne in the summer of 1868-69 by one of the city’s most exclusive studios. The overpainting was executed by a highly skilled colourist: the subtle “overstrokes” suggesting the folds and pleats on the bridesmaids’ dresses add a three-dimensional quality to the image.
For biographical information on the possible colourist, see the entry on James Waltham Curtis on DAAO.
From the marriage notices in The Argus, Melbourne, 7 January 1869: MARRIAGE. McGAW—McNEILL. —On the 6th inst., at St. Peter’s Church, by the Rev. H. H. P. Handfield, J. McGaw, Esq., of Burrabogie, New South Wales, to Frances Hayden, daughter of the late Hugh McNeill, Esq., of Annavale, County Antrim, Ireland.
From birth notices in The Argus, Melbourne, 4 June 1870: McGAW.—On the 2nd inst., at 7 Royal-terrace, Nicholson-street, the wife of J. McGaw, Esq., Burrabogie Station, N.S.W., of a daughter.

Blaxland Louisa Australia sketcherview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
[Title from inscription verso]. Albumen print photograph, carte de visite format, 95 x 62 mm (mount); verso with imprint of Plumridge & Barnes, 158 Regent St., London W,, and fully contemporary inscription in pencil identifying the sitter as Louisa Australia Blaxland, late of Newington; both the albumen print and mount are in fine condition.
Possibly the only surviving photographic portrait of Louisa Australia Blaxland (1807-1888), daughter of explorer John Blaxland. It was taken during her visit to England in 1863, soon after the Blaxland family home, Newington House, had been sold by her brother Edward. (Newington became the first home of Newington College, which opened its doors in July, 1863; much later, it would become part of the Silverwater Correctional Complex).
From DAAO:
‘A member of the aristocratic Blaxland family, Louise Australia was the sixth of 11 children, acquiring her middle name as the first ‘native’ born child after her parents emigration. Despite being encouraged to sketch by her mother, none of her drawings survive, indeed Blaxland is best known for her unsuccessful petition to have Newington, her family home at Parramatta, turned into a public memorial.
[Louisa, a] sketcher, acquired her middle name by being native born – at the Blaxland family home, Newington, Parramatta, on 22 May 1807, soon after her parents, John and Harriott Blaxland, had arrived in New South Wales. She was the sixth of 11 children. Mrs Blaxland encouraged all six daughters to collect and sketch flowers. Emily Manning recorded one of these sketching excursions taken in the company of Louisa and her sister Jane when she stayed at Newington in 1837. Louisa Blaxland never married. Her role in life was to remain at Newington and look after her parents. In 1863, well after both had died, she made her first visit to Britain, Newington having been sold the previous year by her brother Edward, who had inherited the property when their mother died. Louisa regretted the loss of her family home all her life and in 1880 petitioned the New South Wales government to turn it into a public memorial to her father. Instead, it was later renamed Silverwater and converted into a minimum security prison under the control of the New South Wales Department of Corrective Services.
Louisa Blaxland died at Parramatta on 2 August 1888. Some of her letters and her record of John Blaxland’s dying reminiscences of his early life survive in the Blaxland family papers (ML). No extant drawings have been identified.’
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Plumridge & Barnes photographersview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
[Title from inscription verso]. Albumen print photograph, carte de visite format, 95 x 62 mm (mount); verso with imprint of Plumridge & Barnes, 158 Regent St., London W,, and fully contemporary inscription in pencil identifying the sitter as Louisa Australia Blaxland, late of Newington; both the albumen print and mount are in fine condition.
Possibly the only surviving photographic portrait of Louisa Australia Blaxland (1807-1888), daughter of explorer John Blaxland. It was taken during her visit to England in 1863, soon after the Blaxland family home, Newington House, had been sold by her brother Edward. (Newington became the first home of Newington College, which opened its doors in July, 1863; much later, it would become part of the Silverwater Correctional Complex).
From DAAO:
‘A member of the aristocratic Blaxland family, Louise Australia was the sixth of 11 children, acquiring her middle name as the first ‘native’ born child after her parents emigration. Despite being encouraged to sketch by her mother, none of her drawings survive, indeed Blaxland is best known for her unsuccessful petition to have Newington, her family home at Parramatta, turned into a public memorial.
[Louisa, a] sketcher, acquired her middle name by being native born – at the Blaxland family home, Newington, Parramatta, on 22 May 1807, soon after her parents, John and Harriott Blaxland, had arrived in New South Wales. She was the sixth of 11 children. Mrs Blaxland encouraged all six daughters to collect and sketch flowers. Emily Manning recorded one of these sketching excursions taken in the company of Louisa and her sister Jane when she stayed at Newington in 1837. Louisa Blaxland never married. Her role in life was to remain at Newington and look after her parents. In 1863, well after both had died, she made her first visit to Britain, Newington having been sold the previous year by her brother Edward, who had inherited the property when their mother died. Louisa regretted the loss of her family home all her life and in 1880 petitioned the New South Wales government to turn it into a public memorial to her father. Instead, it was later renamed Silverwater and converted into a minimum security prison under the control of the New South Wales Department of Corrective Services.
Louisa Blaxland died at Parramatta on 2 August 1888. Some of her letters and her record of John Blaxland’s dying reminiscences of his early life survive in the Blaxland family papers (ML). No extant drawings have been identified.’
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Nelson William photographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
[Bathurst] : William Nelson, [1870-71]. Albumen print photograph, carte de visite format, 100 x 60 mm (mount); recto with partial photographer’s imprint ‘William Nelson’ at lower margin; verso blank; the albumen print is a little pale and has some mottling in the negative; the mount has been trimmed at bottom edge and corners.
This important rugby photograph dates to the very earliest period of the game in Australia, and is quite possibly a unique survivor. Taken in the Bathurst studio of William Nelson some time around 1870-71, it is a full-length portrait of two young men – probably aged around 16 or 17 – dressed in their rugby playing gear. One of them holds a round ball (the oval ball had not yet been introduced in Australia). We are confident in identifying them as Edmund Tom Webb (born 1855-1925) and his cousin, William Henry Webb (1854-1932), who played rugby at Newington College in Sydney, where they were boarders. Edmund Tom was the eldest son of Bathurst merchant Edmund Webb (1830-1899), and William Henry – who had also grown up in Bathurst – was the eldest son of Edmund’s brother, Thomas Geake Webb (1827-1879), of Springfield Station. The boys’ mothers were also sisters: Edmund Tom’s mother was Selina Jane Jones Tom (1835-1929) and William Henry’s mother was Emma Fletcher Tom (1833-1872). The quartered sporting caps the lads are wearing almost certainly have the famous black-and-white colours of Newington College.
The bottom edge of this William Nelson carte de visite was trimmed by the original owner so that the carte could fit neatly into an album window mount, resulting in the loss of the second line of the photographer’s imprint in the lower margin, with the words ‘Photographic Artist, Bathurst’. The full imprint as it appeared on Nelson’s cartes de visite can be seen in two other examples in the State Library of Victoria (H2005.34/1997A).
According to Davies & Stanbury (The Mechanical Eye in Australia) William Nelson operated his photographic studio in William Street, Bathurst from 1868 until 1871. A notice in the Australian Town and Country Journal, on 11 December 1874, recorded the death of ‘William Nelson, photographic artist, at his residence, William Street’.
Newington College, on the banks of the Parramatta River in Sydney’s west, was established as a Methodist boarding school for boys in 1863. One of the school’s founding benefactors was wealthy Bathurst merchant Edmund Webb (1830-1899), whose sons Edmund Tom and Sidney William (born 1859) both attended the college, along with their cousin William Henry and his younger brothers.
Edmund Webb was the owner of the highly successful Bathurst clothing firm Webb & Co., and served as Member for West Macquarie in the Legislative Assembly in 1869-74. As a devout Methodist, he was generous in his financial support for the establishment of Newington College (the school’s Edmund Webb House is named in his honour). He was a passionate supporter of both football (rugby) and cricket. At Newington, his eldest son Edmund Tom and his nephew William Henry both excelled at sport, in particular William, who was a star all-rounder for the Newington College First XI in 1869-70. In a match played in May 1870 he demolished the batting lineup of arch-rivals The King’s School, capturing 7 wickets for 5 runs, as King’s were dismissed for just 18. William was also an excellent marksman, winning prizes in Cadet rifle matches.
Newington’s first headmaster, George Metcalfe, who had previously taught at Melbourne Grammar School, introduced the game of Australian Rules to the boys: this was actually the form of football that was played at the school during the 1860s. By the end of the decade, however, Newington had switched to the code of rugby, probably through the influence of the English sports master Joseph Coates. In 1869 it became the first Australian school to play competitive rugby football when it played a match against the University of Sydney (the oldest Australian club, formed around 1865). A few years later, in 1874, Newington played in the inaugural Sydney club competition, alongside the Sydney University Football Club, the Balmain Rugby Union Football Club, and The King’s School.
Their enthusiasm for the game resulted in talented cousins Edmund Tom and William Henry Webb – whom we believe are the subjects in this carte de visite – bringing rugby to the Central West of New South Wales.
‘Rugby was introduced to Bathurst in about 1870, possibly by E. T. and W. H. Webb, who played it at Newington College in Sydney. It began in an organised way from 1874 with the formation of the Bathurst Football Club.’ (Museum of Australian Democracy).
Rugby in Australia in the 1860s and the early 1870s was in its embryonic phase, and was a vastly different game to the one we are familiar with today. It was played with a round ball and was something of a hybrid between what we have come to know as Rugby Union and Australian Rules. Contests were of longer duration, and tended to be slow-moving, epic struggles for possession of the ball.
The following match report of a game between Newington College and the Waratah Club was published in The Cumberland Mercury (Parramatta), on 4 September 1875. It gives a very good insight into how at this time the game resembled more a test of stamina that moved at glacial speed, than a free-flowing spectacle:
‘FOOTBALL. Last Saturday afternoon a match was played at Newington between the Waratah club and Newington College. The sides were evidently well matched, and when half-time was called after an hour’s hard play, neither side had gained any advantage. When play was resumed, Kelly worked his men up, determined to score a goal; but they were met by Baly and his boys in the same spirit, and some fine play was the result. The ball was kept pretty well about the centre of the ground; occasionally it was worked up in close proximity to the goal posts. Time was called at 5.30, and after playing for two hours the game was drawn. No goal was scored, not even a touch down was made … There were no disputes, and both teams left the ground well pleased with the afternoon’s work. After the usual amount of cheering, the Waratah men were invited to tea by the president. The names of the players are: Waratahs: Butler, Palmer, backs; Bowman, Thallon, half-backs; Kelly, captain; Sherwin, Payton, Robertson, Hayman, Beal, Brodie, Himwood, Bether, Thallon, Jones, forwards; Newington College: F. Baly (captain, back); Dean, Evans, half-backs; A. Fletcher, Warden, quarter-backs; W.H. Fletcher, Baly, Webb [presumably Edmund’s younger brother Sidney or William’s younger brother Charles], Wheatley, Martin, Palmer, Waterhouse, Bradridge, McKenna, Readford, forwards. The same afternoon the second Newington College Team played the local club, at Hunter’s Hill, winning very comfortably with two goals to their credit. Devick lead the Hunter’s Hill men, and Bell the College players. After the game was finished, the Newingtonians were feasted with Oranges in Mr. Palser’s garden. After justice had been done to the fruit, Bell called his men together, and gave three cheers for Mr. and Mrs. Palser.’

Caire N Jview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
The Melbourne-based photographer, N. J. Caire (1837-1918) worked extensively in regional Victoria, but particularly in Gippsland, where he documented the landscape, Indigenous people and European settlement with his camera. Between the late 1870s and late 1880s Caire produced a number of commercial portfolios of Victorian scenes; the double-sided mount we offer here originally formed part of one of these.

Dalton’s Royal Photographic Galleryview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
I. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 60 x 92 mm (print); verso with imprint of ‘Dalton’s Royal Photographic Gallery, 320 George Street, Sydney’, and three fully contemporary inscriptions: the first, in pencil, reads ‘Woolloomooloo Bay’, with the second immediately below it, also in pencil, ‘Vue de Sidney prise du parc’, and a third at the foot, in ink, ‘Une vue de Sidney, prise de Hide-parc [sic]. Australie’; a few tiny ink spots scattered in the lower left corner of the image, otherwise both the albumen print and mount are in superb condition.
II. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 58 x 92 mm (print); verso without imprint, but with two fully contemporary inscriptions: the first, in pencil, reads ‘Une vue du Port-Jakson’, with the second immediately below it, in ink, ‘Une vue du Port-Jakson. Sidney- Australie’; print and mount superb.
The first view, with the Dalton’s back mark, is oriented to the southeast and looks from the foreshore at the bottom of The Domain directly into the already high-density labyrinth of streets and lanes of Woolloomooloo and East Sydney, which is overlooked by a long, newly built terrace in Victoria Street on the skyline at upper left. The photograph is quite remarkable for the number of streetscapes and amount of architectural detail it records. We have not been able to locate another example of this highly significant view, which, judging by how built-up the area is, probably dates to the latter end of the period 1863-64 (the only years in which Dalton’s Gallery was at the 320 George Street address). It is possibly related to two cartes de visite in the Mitchell Library, View of Woolloomooloo (i.e. Woolloomooloo Bay) (SPF/751) and Domain & Woolloomooloo Bay (SPF/971).
The second view, without back mark, looks across Woolloomooloo Bay towards Potts Point from The Domain, about half way along Mrs. Macquarie’s Point. The French visitor’s identification of the location as Hyde Park rather than The Domain is clearly incorrect, but understandable.Again, we have not been able to locate another example of this view.
According to Davies & Stanbury (The Mechanical Eye), Edward Dalton’s Royal Photographic Gallery – ‘W. Bradley, Operator’ – was located at 320 George Street in the years 1863-64. This statement of William Bradley’s role at Dalton’s is corroborated by newspaper advertisements from later in the 1860s, when Bradley was branching out in business under his own name. In one that appeared in The Sydney Morning Herald on 8 February 1868, for example, Bradley claims to have been ‘for 6 years sole photographer at Dalton’s’. Bradley had joined Dalton’s in 1863, taking over as operator from his mother’s second husband, Oswald Allen, who had left in 1862. Bradley’s mother, Eliza Allen, worked for Dalton as a colourist and miniature painter at the same time her son was managing the studio.
Although only one of the two cartes we offer here – the view of Woolloomooloo – has the Dalton’s back mark, we believe the other – of Potts Point from The Domain – is attributable to the same studio (and thus also to William Bradley), for several reasons: the two photographs were taken from spots only a few hundred metres apart, on the same stretch of harbour foreshore; the clothing worn by the male figure in the foreground of the Potts Point view is consistent with an early 1860s dating; the square-cornered mounts are cut from the same type of white card and are identical in size, and the albumen prints conform to exactly the same dimensions, with the same margin width on each mount; the inscriptions on the backs are in the same hand, which indicates the pair is likely to have been purchased by the same person, probably at the same time (presumably from Dalton’s Gallery); and the pair were acquired from the same source in France, where they had almost certainly been kept together for over 150 years.

Dalton Edward Royal Photographic Gallery – ‘W. Bradley, Operator’ view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
I. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 60 x 92 mm (print); verso with imprint of ‘Dalton’s Royal Photographic Gallery, 320 George Street, Sydney’, and three fully contemporary inscriptions: the first, in pencil, reads ‘Woolloomooloo Bay’, with the second immediately below it, also in pencil, ‘Vue de Sidney prise du parc’, and a third at the foot, in ink, ‘Une vue de Sidney, prise de Hide-parc [sic]. Australie’; a few tiny ink spots scattered in the lower left corner of the image, otherwise both the albumen print and mount are in superb condition.
II. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 58 x 92 mm (print); verso without imprint, but with two fully contemporary inscriptions: the first, in pencil, reads ‘Une vue du Port-Jakson’, with the second immediately below it, in ink, ‘Une vue du Port-Jakson. Sidney- Australie’; print and mount superb.
The first view, with the Dalton’s back mark, is oriented to the southeast and looks from the foreshore at the bottom of The Domain directly into the already high-density labyrinth of streets and lanes of Woolloomooloo and East Sydney, which is overlooked by a long, newly built terrace in Victoria Street on the skyline at upper left. The photograph is quite remarkable for the number of streetscapes and amount of architectural detail it records. We have not been able to locate another example of this highly significant view, which, judging by how built-up the area is, probably dates to the latter end of the period 1863-64 (the only years in which Dalton’s Gallery was at the 320 George Street address). It is possibly related to two cartes de visite in the Mitchell Library, View of Woolloomooloo (i.e. Woolloomooloo Bay) (SPF/751) and Domain & Woolloomooloo Bay (SPF/971).
The second view, without back mark, looks across Woolloomooloo Bay towards Potts Point from The Domain, about half way along Mrs. Macquarie’s Point. The French visitor’s identification of the location as Hyde Park rather than The Domain is clearly incorrect, but understandable.Again, we have not been able to locate another example of this view.
According to Davies & Stanbury (The Mechanical Eye), Edward Dalton’s Royal Photographic Gallery – ‘W. Bradley, Operator’ – was located at 320 George Street in the years 1863-64. This statement of William Bradley’s role at Dalton’s is corroborated by newspaper advertisements from later in the 1860s, when Bradley was branching out in business under his own name. In one that appeared in The Sydney Morning Herald on 8 February 1868, for example, Bradley claims to have been ‘for 6 years sole photographer at Dalton’s’. Bradley had joined Dalton’s in 1863, taking over as operator from his mother’s second husband, Oswald Allen, who had left in 1862. Bradley’s mother, Eliza Allen, worked for Dalton as a colourist and miniature painter at the same time her son was managing the studio.
Although only one of the two cartes we offer here – the view of Woolloomooloo – has the Dalton’s back mark, we believe the other – of Potts Point from The Domain – is attributable to the same studio (and thus also to William Bradley), for several reasons: the two photographs were taken from spots only a few hundred metres apart, on the same stretch of harbour foreshore; the clothing worn by the male figure in the foreground of the Potts Point view is consistent with an early 1860s dating; the square-cornered mounts are cut from the same type of white card and are identical in size, and the albumen prints conform to exactly the same dimensions, with the same margin width on each mount; the inscriptions on the backs are in the same hand, which indicates the pair is likely to have been purchased by the same person, probably at the same time (presumably from Dalton’s Gallery); and the pair were acquired from the same source in France, where they had almost certainly been kept together for over 150 years.

Bradley W operator of Dalton Edward Royal Photographic Gallery view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
I. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 60 x 92 mm (print); verso with imprint of ‘Dalton’s Royal Photographic Gallery, 320 George Street, Sydney’, and three fully contemporary inscriptions: the first, in pencil, reads ‘Woolloomooloo Bay’, with the second immediately below it, also in pencil, ‘Vue de Sidney prise du parc’, and a third at the foot, in ink, ‘Une vue de Sidney, prise de Hide-parc [sic]. Australie’; a few tiny ink spots scattered in the lower left corner of the image, otherwise both the albumen print and mount are in superb condition.
II. Albumen print photograph, carte de visite format, 63 x 103 mm (mount), 58 x 92 mm (print); verso without imprint, but with two fully contemporary inscriptions: the first, in pencil, reads ‘Une vue du Port-Jakson’, with the second immediately below it, in ink, ‘Une vue du Port-Jakson. Sidney- Australie’; print and mount superb.
The first view, with the Dalton’s back mark, is oriented to the southeast and looks from the foreshore at the bottom of The Domain directly into the already high-density labyrinth of streets and lanes of Woolloomooloo and East Sydney, which is overlooked by a long, newly built terrace in Victoria Street on the skyline at upper left. The photograph is quite remarkable for the number of streetscapes and amount of architectural detail it records. We have not been able to locate another example of this highly significant view, which, judging by how built-up the area is, probably dates to the latter end of the period 1863-64 (the only years in which Dalton’s Gallery was at the 320 George Street address). It is possibly related to two cartes de visite in the Mitchell Library, View of Woolloomooloo (i.e. Woolloomooloo Bay) (SPF/751) and Domain & Woolloomooloo Bay (SPF/971).
The second view, without back mark, looks across Woolloomooloo Bay towards Potts Point from The Domain, about half way along Mrs. Macquarie’s Point. The French visitor’s identification of the location as Hyde Park rather than The Domain is clearly incorrect, but understandable.Again, we have not been able to locate another example of this view.
According to Davies & Stanbury (The Mechanical Eye), Edward Dalton’s Royal Photographic Gallery – ‘W. Bradley, Operator’ – was located at 320 George Street in the years 1863-64. This statement of William Bradley’s role at Dalton’s is corroborated by newspaper advertisements from later in the 1860s, when Bradley was branching out in business under his own name. In one that appeared in The Sydney Morning Herald on 8 February 1868, for example, Bradley claims to have been ‘for 6 years sole photographer at Dalton’s’. Bradley had joined Dalton’s in 1863, taking over as operator from his mother’s second husband, Oswald Allen, who had left in 1862. Bradley’s mother, Eliza Allen, worked for Dalton as a colourist and miniature painter at the same time her son was managing the studio.
Although only one of the two cartes we offer here – the view of Woolloomooloo – has the Dalton’s back mark, we believe the other – of Potts Point from The Domain – is attributable to the same studio (and thus also to William Bradley), for several reasons: the two photographs were taken from spots only a few hundred metres apart, on the same stretch of harbour foreshore; the clothing worn by the male figure in the foreground of the Potts Point view is consistent with an early 1860s dating; the square-cornered mounts are cut from the same type of white card and are identical in size, and the albumen prints conform to exactly the same dimensions, with the same margin width on each mount; the inscriptions on the backs are in the same hand, which indicates the pair is likely to have been purchased by the same person, probably at the same time (presumably from Dalton’s Gallery); and the pair were acquired from the same source in France, where they had almost certainly been kept together for over 150 years.

Duryea Townsendview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
HOOD, John 1839-1924, colourist
Albumen print photograph overpainted in oils, 123 x 116 mm, laid down on its original wood mount; in fine condition; unfortunately the original frame is now lost, the back of which, according to the previous owner, bore the printed label of the photographic studio of Townsend Duryea, 66 & 68 King William Street, Adelaide.
The painter (and later photographer) John Hood worked as an artist and retoucher for the London photographic firm of Elliott and Fry before accepting a contract to work as a colourist for the renowned American-born Adelaide photographer, Townsend Duryea. Hood arrived in Adelaide in 1863.
The unidentified lady in this magnificent overpainted portrait was undoubtedly the wife (she wears a wedding ring) of one of Adelaide’s prominent citizens of the 1860s. She wears a mourning dress and bonnet with black ribbons, and her facial expression is one of deep melancholy. Her bottle curls and dress suggest a date prior to 1865. It is possible that the sitter, who appears to be in her mid 40s, is in mourning for a daughter: in her left hand she holds a tortoise shell comb, perhaps a memento of her dearly beloved child.
The quality of the painting is typical of Hood’s work and rivals, for example, the finesse evident in his overpainted Duryea photograph of Sir Thomas Elder held in the collection of the Art Gallery of South Australia (see MILLER, Steven. Dogs in Australian Art, p 22).
(attributed); DURYEA, Townsend 1823-1888, photographer (attributed)

Hood John 1839-1924 colouristview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
HOOD, John 1839-1924, colourist
Albumen print photograph overpainted in oils, 123 x 116 mm, laid down on its original wood mount; in fine condition; unfortunately the original frame is now lost, the back of which, according to the previous owner, bore the printed label of the photographic studio of Townsend Duryea, 66 & 68 King William Street, Adelaide.
The painter (and later photographer) John Hood worked as an artist and retoucher for the London photographic firm of Elliott and Fry before accepting a contract to work as a colourist for the renowned American-born Adelaide photographer, Townsend Duryea. Hood arrived in Adelaide in 1863.
The unidentified lady in this magnificent overpainted portrait was undoubtedly the wife (she wears a wedding ring) of one of Adelaide’s prominent citizens of the 1860s. She wears a mourning dress and bonnet with black ribbons, and her facial expression is one of deep melancholy. Her bottle curls and dress suggest a date prior to 1865. It is possible that the sitter, who appears to be in her mid 40s, is in mourning for a daughter: in her left hand she holds a tortoise shell comb, perhaps a memento of her dearly beloved child.
The quality of the painting is typical of Hood’s work and rivals, for example, the finesse evident in his overpainted Duryea photograph of Sir Thomas Elder held in the collection of the Art Gallery of South Australia (see MILLER, Steven. Dogs in Australian Art, p 22).
(attributed); DURYEA, Townsend 1823-1888, photographer (attributed)

Bock Alfredview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
The photographer, Alfred Bock, was the son of the convict engraver and pioneer photographer Thomas Bock. He was active at his 140 Elizabeth Street premises between 1858 and 1867. Bock later moved to Victoria, where he operated a studio in Sale, Gippsland.

Short William photographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Beautiful young woman in a fine dress and black lace shawl. Melbourne, 1863-65.
Albumen print photograph, carte de visite format, 103 x 62 mm (mount), verso imprinted ‘William Short & Co. Photographic Academy of Fine Arts. 41, Collins St. West, Melbourne’; the print has lovely rich tones and is in very good condition (there is a faint spot of toning at the top of the ornamental ewer); the mount was clipped at the bottom corners by the original owner to make it easier to remove it from its window mount.
A wonderfully lit and composed studio portrait of a photogenic young woman from Melbourne’s cosmopolitan post-gold rush elite. The photograph has an exceptional amount of detail, especially in the breathtaking lace shawl, but also in the ruffles of the silk dress, and the woman’s lovely countenance and ringleted coiffure. Her wedding band is clearly visible and prominent (probably made so at the photographer’s instigation), but note that she wears it on her right ring finger, which is perhaps a clue to her ethnic or religious background (Spanish? Catholic?).

Angas George Frenchview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Native Swing; War Dance [before the Pah of Oinemutu near Roturua Lake]

[Titles from captions on mounts]. Circa 1875. Two albumen print photographs of lithographic illustrations, 102 x 63 mm / 63 x 102 mm (mounts), versos wet stamped ‘J. Low, Photographer. Waikato N.Z.’ and with fully contemporary captions in pencil; the prints and mounts are in very good condition.
This pair of carte de visite photographs were part of a series sold as souvenirs of Māori culture by Scottish-born John Low (1847-1895) from his photographic studio in the small Waikato township of Ngaruawahia, which he opened in 1874. They are photographs of works by George French Angas which were published as one of the lithographed plates in The New Zealanders Illustrated (London, 1847).
Provenance: from a family photograph album compiled by a female member of the family of John Sperry (1829-1890), Lands Commissioner, who was the father of New Zealand artist Eleanor Kate Sperry (1862-1893).

Low John pghotographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Native Swing; War Dance [before the Pah of Oinemutu near Roturua Lake]

[Titles from captions on mounts]. Circa 1875. Two albumen print photographs of lithographic illustrations, 102 x 63 mm / 63 x 102 mm (mounts), versos wet stamped ‘J. Low, Photographer. Waikato N.Z.’ and with fully contemporary captions in pencil; the prints and mounts are in very good condition.
This pair of carte de visite photographs were part of a series sold as souvenirs of Māori culture by Scottish-born John Low (1847-1895) from his photographic studio in the small Waikato township of Ngaruawahia, which he opened in 1874. They are photographs of works by George French Angas which were published as one of the lithographed plates in The New Zealanders Illustrated (London, 1847).
Provenance: from a family photograph album compiled by a female member of the family of John Sperry (1829-1890), Lands Commissioner, who was the father of New Zealand artist Eleanor Kate Sperry (1862-1893).

Suchomlin John 1886-1974 (artistview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Pinch of poverty modelled in sand by J. Suchomlin. Manly 1931.
SUCHOMLIN, John (1886-1974) (artist); [Photographer unknown]
[Title from inscription in negative]. Gelatin silver print photograph, printed on Kodak Austral card stock, 84 x 137 mm, artist’s handwritten notices in image lower right: ‘Pinch of poverty modelled in sand by J. Suchomlin. Manly 1931. This subject took me 6 weeks to complete. Only sand and sea water used.’; not postally used, in fine condition.
John [Jack] Suchomlin (1886-1974) was a Ukrainian artist who had studied in Germany before arriving in Adelaide as a political refugee in 1911. He became an Australian citizen in 1913 and married Elsie Mattingley. Between 1926 and 1940 he created stunning sand sculptures on Manly beach, Sydney, which were a popular tourist attraction. Appreciated by the public for their highly realistic qualities, Suchomlin’s works included life size sculptures of aviators Bert Hinkler and Amy Johnson, Biblical tableaux and his celebrated swimmers, some of which were used in advertisements for Jantzen swimming costumes. In the 1930s he also created sand sculptures on St Kilda beach, Melbourne, and at Margate, Brisbane. Pinch of poverty is one of Suchomlin’s most extraordinary works. The Wishing Well shelter at South Steyne beach was built by the Manly Council in 1929 at Suchomlin’s request, and was used by him for several years as a sand sculpture ‘gallery’. The original of Pinch of poverty was originally on display here. Now refurbished, the shelter is today adorned with aluminium reproductions of some of Suchomlin’s works.
Trove locates only two other examples (National Maritime Museum of Australia; Northern Beaches Libraries).
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Watson John photographerview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 AUSTRALIA / AOTEAROA Photography catalogue:
Vignette portrait of a young man wearing a bow-tie. Brisbane, circa 1865.
Albumen print photograph, carte de visite format, 102 x 63 mm (mount), verso with imprint of ‘J. Watson, Photographic Artist. Queen Street, Brisbane’; both the albumen print and mount are in superb condition.
From DAAO: ‘John Watson, professional photographer, operated a photographic studio during the second half of 1855 in Edward Street, Brisbane, as a branch of Thomas Glaister ‘s Sydney firm. After disappearing from Queensland early the following year, he must have been the Watson in partnership with James Walker at Sydney in 1860-62. In 1862 John Watson returned to Brisbane, there to run a busy Queen Street studio in his own name until 1875. Watson’s Queensland Album of Photographic Scenery (John Oxley Library) was published in 1874.’

Printed on Stoneview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Melbourne Album Theview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Barnet Nahum architect p147view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Chevalier Nicholas p28 202 204view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

chromolithography 5 refsview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Cooper Edward - Troedel’s partnerview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Cogne Francois numerous referencesview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Gilks Edward p108 197 199view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

New South Wales Album 3 refsview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Osborne John Walter developer of photolithography in Victoriaview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

photolithography view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Punch Melbourneview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Melbourne Punch view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Streeton Arthur as apprenticeview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Troedel Walter Albertview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Troedel familyview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Turner Charles artist and illustrator p53 57 163view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Turner Charles artist and illustrator p53 57 163view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Young Blamire p163view full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Wendel Richard numerous references - his work sometimes attributed to Robert Wendelview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Wendel Robert see Richard Wendell - Richard’s work sometimes attributed to Robert Wendelview full entry

Reference: see Printed on Stone : the lithographs of Charles Troedel. By Amanda Scardamaglia.
[’This book is the first to document the visual history of print advertising in Australia and in so doing provides a valuable illustrated social history of Australia. Charles Troedel (1835–1906) was a master printer and lithographer, and the face behind the production of most of Australia’s early advertising posters, product labels, and other print ephemera, as well as the iconic Melbourne Album. Troedel’s catalogue of lithographs traces the production and evolution of nineteenth century commerce and culture—in the home, at the bar, in health, hygiene and housework, with fashion and style and in leisurely pursuits—defining the legal categories under which this content was protected and the way advertising came to be regulated.
A history such as this is only possible because of the well-preserved archive documenting the work of Charles Troedel and his firm Troedel & Co. This archive includes the corporate records of Troedel’s printing business spanning over a century, and nearly 10,000 copies of print specimens produced by the company, which were donated by the firm to the State Library of Victoria in 1968. The author of the book, Dr Amanda Scardamaglia, has meticulously researched this archive as a State Library of Victoria Creative Fellow in 2015–2016.
This book brings the archive out of the hollows of the State Library of Victoria and into the public gaze for the first time.
Dr Amanda Scardamaglia is an Associate Professor and Department Chair of the Swinburne Law School. Her area of research is intellectual property law with a special focus on empirical and historical studies in trade mark law, branding and advertising. She is author of the book Colonial Australian Trade Mark Law: Narratives in Lawmaking, People, Power and Place(Australian Scholarly Publishing, 2015).’]
Publishing details: Melbourne Books, 2020. Quarto, laminated boards, pp. 256, illustrated with more than 70 colour prints from the Troedel archive, plus full reproduction of all 24 plates of The Melbourne Album (lithographic views of Melbourne from 1863–1864) plus select images from the New South Wales Album (1878).

Whitmore Arthur James poster designed with Douglas Annand p93view full entry

Reference: see Crombie Isobel - Body Culture : Max Dupain, Photography and Australian Culture, 1919-1939
Publishing details: Pelus Press, NGV, 2004, card covers, 208pp

Meere Charles beach patterns and Freda Robertshaw view full entry

Reference: see Crombie Isobel - Body Culture : Max Dupain, Photography and Australian Culture, 1919-1939
Publishing details: Pelus Press, NGV, 2004, card covers, 208pp

Shipley Lieutenant Conway view full entry

Reference: see William Bunch Auctions & Appraisals, US, 29 July, 2020, lot 11785 Details
DESCRIPTION
Watercolor "Feejee Costumes" by Lieutenant Conway Shipley, a British Officer in the Royal Navy. Sketches he drew while on a voyage in the South Seas are now held in the Mitchell Library, State Library of New South Wales, Australia. Sketcher and travel writer, he entered the Royal Navy in 1837 and after distinguishing himself at the Royal Naval College was promoted lieutenant in 1845. In 1848 he served on the 18-gun Calypso during a voyage to various mission stations in the South Seas. In 1851 he published a narrative of the voyage, Sketches in the Pacific: The South Sea Islands , which included 25 coloured lithographs based on his own sketches. This specific sketch shows several different subjects with many details on materials used like tortoise shell and pearl.

Zahieros Miss art teacher c1890view 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.

Campbell Steven (Scottish)view full entry

Reference: see MCTEAR'S, Glasgow, 16 August, 2020, lot 556:
STEVEN CAMPBELL (SCOTTISH 1953 - 2007), MASTER AND APPRENTICE, THE GREEN MAN oil on canvas, signed in pencil on stretcher verso 92cm x 61cm Framed. Note: Steven Campbell (born 1953 in Glasgow) worked as an engineer in a steelworks from 1970 to 1977 before studying at The Glasgow School of Art from 1978 to 1982. In 1982 he was awarded a Fulbright Scholarship and studied at the Pratt Institute in New York. He had highly successful shows in New York in 1983, which led to exhibitions in London and Edinburgh in 1984-5. He moved back to Glasgow in 1986. He was included in the exhibition The Vigorous Imagination: New Scottish Art in Edinburgh in 1987. He was Artist-in-Residence at the Art Gallery of New South Wales, Sydney in 1990. He showed frequently in London, Glasgow and Edinburgh from 1987 to 2004. He died in 2007 after a ruptured appendix.

Whiting Ada miniature artist view full entry

Reference: see Crow's Auction Gallery Ltd
July 29, 2020, 10:00 AM BST
Dorking, United Kingdom, lot 888:
FROM A PRIVATE PORTRAIT MINIATURE COLLECTION: Ada Whiting (Australian, 1859-1953), a portrait miniature of an 'Unknown Lady', initialled and dated 1907 recto lower left, inscribed verso under frame backing, watercolour, gold plated oval frame, 5" x 3½". Please note: Whiting exhibited at the Royal Academy and the Paris Salon between 1900 and 1934. Est: £200 - £400

Hudspeth Elizabeth English/Australian 1820-1858view full entry

Reference: see Schmidt's Antiques
July 25, 2020, 11:00 AM EST
Ypsilanti, MI, US. lot 138:
Elizabeth Hudspeth, English/Australian, 1820-1858. Pencil drawing on paper depicting the Bowsden shore. Signed verso "Hudspeth, Bowsden", with 1821 watermark on laid paper. Toning and some staining and creasing to paper, light wear around edges of sheet. Image is 9 x 16" h, sheet is 12 x 9 3/8" h, in a re-gilt wood frame with some damage, 22 3/4 x 19" high overall. ESTIMATE $400-600
Condition Report
Toning and some staining and creasing to paper, light wear around edges of sheet.

Tiesler Herbert Hans California Germany Australia Meyburgh1894 - 1975view full entry

Reference: see Broward Auction Gallery
August 9, 2020, 11:45 AM EST
Dania Beach, FL, US, lot 312:
ARTIST: Herbert Hans Tiesler (California, Germany, 1894 - 1975)
NAME: Richmond Ferry
MEDIUM: oil on canvas board
CONDITION: Very good. No visible inpaint under UV light.
SIGHT SIZE: 12 x 16 inches / 30 x 40 cm
FRAME SIZE: 18 x 22 inches / 45 x 55 cm
SIGNATURE: Lower right and on verso
CATEGORY: antique vintage painting
SKU#: 116340
WARRANTY: 7 days returns accepted if item doesn't match description

US Shipping $60 + insurance.

Herbert Tiesler (Germany, American, 1894 - 1975)
Seaman and artist Herbert Tiesler was born in the small town of Oels, Silesia, in what was then known as Eastern Prussia. He attended art school but "always had a longing for the sea" and in 1909 hired on for his first voyage as a deck boy on a roundtrip to England. Subsequent voyages took him to Australia and South America and, in 1914, he signed on as a seaman on the German four-mast bark HANS and sailed around Cape Horn to Santa Rosalia, Mexico.

Ramsay Francis Dennis 1925-2009view full entry

Reference: see DAWSONS AUCTIONEERS, UK, 30.7,20, lot 10: Francis Dennis Ramsay (1925-2009), British/Australian, a still life study of a book and wine bottle, with blue sky to the background, oil on board, dated 'LV' [1955], signed to lower left corner, 29 cm x 34 cm, glazed in a wooden frame.

De Garis Nicholas view full entry

Reference: see Martel Maides Auctions, UK, lot 2010, 4 Aug, 2020, Nicholas De Garis framed oil on canvas depicting Shothole Canyon, Australia. Estimate 20 - 30 GBP

Wyon J S & A B view full entry

Reference: Australia, Sydney International Exhibition 1879, large bronze medal by JS & AB Wyon, female with shield of arms holds aloft laurels, implements at feet, exhibition building in the background, rev. Australian flora around field,

Whiteley Brettview full entry

Reference: Brett Whiteley - Catalogue Raisonné : 1955 – 1992, by Kathie Sutherland.
[‘Compiled by art historian Kathie Sutherland over seven years, this seven-volume set of cloth-bound books is presented in a deluxe, elegantly finished slipcase and presents more than 4600 artworks, including hundreds of never-before-published works. Weighing 21 kilograms and totalling 2400 pages, this catalogue Brett Whiteley: Catalogue Raisonné 1955-1992 is an unprecedented publishing event that confirms Whiteley’s enduring significance as a visionary force of Australian art. Volumes I, III and IV hold paintings and drawings from the 1950s to the 1990s; Volume II contains exquisite concertina fold-outs of the mammoth Alchemy and The American Dream; Volume V contains Whiteley’s prints; and Volume VI compiles his ceramics and sculpture. A final book, Volume VII, holds essays, a cataloguing text, an exhibition history, an artist’s biography, a bibliography and an index of persistent themes that lend insightful form to the expanse of Whiteley’s rich and varied oeuvre. This one-off print release is limited to 1000 copies, with each individual set foiled with a unique number in the series and presented in bespoke packaging.’ – the publisher
Unique in the history of Australian art publishing, an extraordinary academic publication and truly the essential reference on one of Australia’s most significant artists.’]
Publishing details: Melbourne : Schwartz City, 2020. Seven volumes, quarto, lettered white cloth, in bespoke white lettered slipcase, over 2400 pages, fully illustrated. Limited to 1000 numbered copies. Housed in the publisher’s double walled mailing carton. The size of the slipcase is 225 mm tall, 403 mm wide, 203 mm deep.
Ref: 1000

Evergood Milesview full entry

Reference: Miles Evergood: Watercolours and Drawings. ‘This is our second exhibition of work by Miles Evergood.
In the current show, the watercolours focus mainly on still life and are most likely studio paintings; they exhibit the classic qualities of the discipline: fresh, clean colour and a brisk and lively spontaneity.
In the drawings, landscape predominates, the subjects being typical favourites of Australian artists in England at the time: the mountains of North Wales around Bettys y Coed, the Peak District at the southern end of the Pennines, and the ever-popular Corfe Castle - painted by artists as varied as Glover, Piguenit, Streeton and Herbert. All these drawings have the stamp of the plein-aire sketch potentially leading to a future studio painting, though no such examples were found for our first exhibition in 2015.

On a more practical note - all works are mounted but unframed, so can fairly simply be posted. They are all for sale on behalf of Gael Hammer, the artist's great-niece, and all prices are negotiable; this will be particularly relevant for anyone contemplating buying a group of drawings with the idea of forming a set of related examples.’
‘Born in 1871 in Carlton, Myer Blashki, eleventh child of Hannah and Phillip Blashki, (he was a noted silversmith), grew up in a traditional Jewish migrant family in a rapidly expanding Melbourne. After studies at the National Gallery School, and exhibiting at the VAS and the RAS in Sydney, he made an unusual move. Whilst virtually all his contemporaries were gravitating to London and Paris in 1898, he moved to San Francisco, and then to New York. He returned to Australia in the 1930s – first to Brisbane, then Sydney, and finally to Melbourne where he and his wife Polly bought a cottage called ‘Yosemite’ in Kalorama in 1938. He died unexpectedly in 1939.  Evergood exhibited his work with success in the US and was well connected to the Melbourne scene in the 30s – friends with Rupert Bunny, George Bell, James Quinn, and John Longstaff, among others, all of whom he had met at art school in Melbourne in the 1890s.  Castlemaine Gallery held a major retrospective exhibition in 1988.’
Publishing details: Charles Nodrum Gallery, 2020.
Ref: 1000

Claxton Marshallview full entry

Reference: see eBay listing 29.7.2020:
c1853-54 Original Oil Painting on Canvas, Titled "Mrs Agnes Nelson, Wife of Rev Dr William Lambie Nelson" attributed to Well Listed British/Australian Colonial Painter Marshall Claxton (1811-1881)
This Portrait is an Important part of Australian Colonial History and Local History of Toowoomba and Ipswich, Queensland
The Sitter, Agnes Nelson nee Muir (1810-1885), Wife of Rev. Dr William Lambie Nelson (1808-1887), Mother of Sir Hugh Muir Nelson (1833-1906). The Nelson Family arrived in the colony in 1853, most likely this portrait was painted just after their arrival c1853-1954.
The Artist, Marshall Claxton arrived in Sydney in September 1850, bearing a reputation as a portrait artist. Encourage by Sir Charles Nicholson, he began painting portraits in the colony. He left Australia in 1854.
Please see biographies below for the artist and Rev. Dr William Lambie Nelson

Image Size: 64x52 cm
Frame: 82x70 cm
Frame: Antique frame is in good Condition with some Wears and chips
It is Not Signed In the Panting, Attributed verso
A old typed label verso regarding the sitter and details of Rev. Dr William Lambie Nelson
OzWebCollectibles will issue a certificate of authenticity providing life time written guarantee
<Biography of the artist>
Marshall Claxton (12 May 1811 – 28 July 1881)
Born in Bolton, Lancashire, the son of a Wesleyan Methodist minister, the Rev. Marshall Claxton, and his wife Diana.
He studied under John Jackson, R.A., and at the Royal Academy school where he enrolled on 26 April 1831.
He had his first picture in the Royal Academy in 1832, a portrait of his father. In subsequent years about 30 of his pictures were shown at Academy exhibitions. In 1834 he was awarded the first medal in the painting school, and obtained the gold medal of the Society of Arts in 1835 for his portrait of Sir Astley Cooper. From 1837 to 1842 he worked in Italy and then returned to London, gaining a prize of £100 for his "Alfred the Great in the Camp of the Danes".
In 1850 Claxton went to Sydney, Australia, with a large collection of pictures, but had little success in selling them. While in Sydney he painted a large picture, "Suffer little children to come unto me", a commission from the Baroness Burdett-Coutts. This was described in Household Words as 'the first important picture' painted in Australia.[2]
In September 1854 Claxton left Sydney for Calcutta, where he sold several of his pictures. He returned to England in 1858 via Egypt, and died in London after a long illness on 28 July 1881.
He married and had two daughters, Adelaide and Florence Claxton, both of whom were artists and represented in Royal Academy exhibitions between 1859 and 1867.
Claxton's "General View of the Harbour and City of Sydney" is in the Royal collection in England, and there are two pictures by him in the Dickinson collection in the Art Gallery of New South Wales, Sydney. His portraits of Bishop William Broughton and Dean Cowper are at St. Paul's College, University of Sydney, and that of the Rev. Robert Forrest is exhibited at The King's School, Parramatta. His Godiva painting is in the Herbert Art Gallery and he also has work displayed at the Derby Art Gallery and the Victoria and Albert Museum.[1] He was also known for his depictions of Wesleyan and Methodist subjects, made popular as prints.
<Biography of the Sitter>
Rev Dr William Lambie Nelson (1808-1887)
Born 20 Sep 1808 in Kilmarnock, Ayrshire, Scotland, United Kingdom, Died 3 Jun 1887 in Southport, Queensland, buried at the Southport General Cemetery

Married Agnes Nelson, Nee Muir, 27 Oct 1827 in Gorbals, Lanark, Scotland

He migrated to Queensland in 1853, was the oldest Presbyterian minister in Queensland

He was for many years stationed at Toowoomba, and was one of the most learned divines in the colony

William Nelson was elected to the Queensland Legislative Assembly in the three-member electorate of West Moreton on 3 May 1860 in the inaugural 1860 Queensland colonial election. However, Mr Chubb on behalf of one of the unsuccessful candidates, Pollett Cardew, protested against the election of the Reverend Nelson as he was a priest in holy orders and was therefore disqualified from being elected, but the Rev. Nelson claimed that he had resigned his religious role.[3] On 22 June 1860, the Committee on Elections ruled that the Rev. Nelson was disqualified and a new election must be called to replace him. Joseph Fleming won the resulting by-election on 9 July 1860

His son, Sir Hugh Muir Nelson (1833-1906) went on to be Premier of Queensland from 27 October 1893 to 13 April 1898

Justin Miller Artview full entry

Reference: Justin Miller Art,Winter 2020, illustrated catalogue. Includes 42 works with some biographical information.
Publishing details: Justin Miller Art, 2020, pb, 45pp, with price list.
Ref: 133

Worth Margaretview full entry

Reference: see Justin Miller Art,Winter 2020, illustrated catalogue. Includes 42 works with some biographical information.
Publishing details: Justin Miller Art, 2020, pb, 45pp

Merrett Stewartview full entry

Reference: obituary in Sydney Morning Herald 30 July, 2020, p30. Applique artist.
Publishing details: 2
Ref: 138

Bergner Yosl (1920-2017view full entry

Reference: see Kedem Public Auction House Ltd
August 11, 2020, 5:00 PM IST
Jerusalem, Israel, lot 367:
Yosl Bergner (1920-2017), "An Angel for 70-year-old Shmulikl" (Yiddish).
Mixed media on paper. Titled and inscribed to Shmulik Segal (Yiddish), signed and dated 1994.
31X36 cm. Good condition. Framed; unexamined out of frame.
Provenance: The estate of Shmulik Segal.
-----------------
Yosl Bergner (1920-2017) was born in Vienna. His parents, singer Fanya Bergner and poet Melech Ravitch, were active in various cultural and intellectual circles, nurturing his creativity from a young age. In his youth he studied painting with artist Hirsch Altman in Warsaw, and at the age of seventeen immigrated with his sister to Australia, where he studied at the National Gallery of Victoria Art School in Melbourne. During World War II, he served in the Australian Army. After the war, he married artist and writer Audrey Bergner, and in 1950 the two immigrated to Israel. Bergner first settled in Safed, later moving to Tel-Aviv, where he lived and worked until his death at the age of 97.
Bergner was a prolific artist, working in various fields painting, book illustration and scenic and costume design. His multifaceted work, at times somber and at times bright, is inspired by surrealism and symbolism. Art critic Dr. Gideon Ofrat, in a tribute to Bergner published in the Erev Rav journal (January 2017), writes: "Ever since the paintings he made in the 1940s after the stories of Y.L. Peretz, Bergner never ceased telling us stories with his paintings. The stories of the Jewish sage, whose one eye is laughing while the other is weeping. Bergner never stopped telling the stories of the exiles, the expelled, the refugees, the seekers of the shore of Redemption [] Bergner repeatedly declared in his paintings: for the exiled wanderers these furniture, kitchen utensils, lanterns, etc. there is no safe haven; any safe haven is nothing but an existential illusion. And thus, in an endless desert [] and under the bleak sky, Bergner sentences humankinds Jews and non-Jews alike to what Y.H. Brenner calls 'exile everywhere' and 'an existence of thorns'" (Hebrew).

King-Smith Leahview full entry

Reference: see Douglas Stewart Fine Books, July, 2020 catalogue:
Barak,
Type C photograph. 1020 x 1020 cm (image), in a black timber frame with Perspex by Chapman & Bailey. Number 3 from the first printing of the Patterns of connection series of 1991, printed in an unknown edition, the photographs not signed nor numbered, as issued. A second printing was completed in 2001 in an edition of 25 copies, signed and numbered verso.
Leah King Smith was the Stegley Foundation Koori photographer in residence, State Library of Victoria, 1990-91. She created her series of images Patterns of Connection utilising nineteenth century photographs of Aboriginal people housed in the Picture Collection of the Library. This arresting composition is based on a photograph of Aboriginal activist and leader William Barak holding aloft a pair of boomerangs at Coranderrk, Healesville, c.1900, by an unknown photographer. (call number H141205).
‘I was seeing the old photographs as both sacred family documents on one hand, and testaments of the early brutal days of white settlement on the othe … I was thus wrestling with anger, resentment, powerlessness and guilt while at the same time encountering a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ – Leah King-Smith, White apron, black hands, Brisbane City Hall Gallery, 1994, p. 7.
‘Leah King-Smith was born in Gympie, a Bigambul descendant who became a visual artist and lecturer in Brisbane. She studied fine arts and photography in the 1980s, and developed an interest in exploring issues of cultural discord in her art practice through her own family experiences. The 1991 series, Patterns of Connection, was developed after Leah was invited by the State Library of Victoria to select images for publication from the library’s collection of 19th century Aboriginal people. The photos produced in her several conflicting emotions: anger, resentment, powerlessness and guilt at the treatment of Aboriginal people in colonial Australia, together with ‘a sense of deep connectedness, of belonging and power in working with images of my fellow Indigenous human beings.’ She decided to adapt the photos to become a commentary on the colonial impact on Aboriginal culture.
In this series, King-Smith has superimposed archival images over her own photographs of the Victorian landscape. Parts of the image have been painted over, then the whole re-photographed and printed in large-scale Cibachrome. Her work was an attempt to recover Aboriginal people from the archives and reposition them in a positive, living, spiritual realm. She reunited figure and landscape to convey the importance of landscape to Aboriginal people, to reposition them in the foreground of their environment, with the negative connotations of mission, reserve and studio background pushed to the rear. ‘ Libby Stewart, Indigenous women artists: Leah King-Smith and Andrea Fisher, Museum of Democracy at Old Parliament House website, https://www.moadoph.gov.au/blog/Indigenous-women-artists-Leah-King-Smith-and-Andrea-Fisher/

Reference:
Patterns of connection : an exhibition of photo-compositions. [Melbourne] : Leah King-Smith, 1992
ENNIS, Helen. Photography and Australia, London, 2007, 44 (colour illus.). fig.22

Willis Gary b1949view full entry

Reference: The painter’s tongue : the life of an artist
Publishing details:
Melbourne : Gulag Publishing, 2020. Eleven volumes octavo (210 x 145 mm), pictorial stiff wrappers, perfect bound; pp 795, illustrated in colour and b/w; housed in publisher’s red slipcase. Edition limited to 10 signed and numbered sets
Ref: 1000

Youdale Joseph (1819-1911)view full entry

Reference: See Douglas Stewart Fine Books, July 2020 catalogue:
Portrait of a wealthy squatter, Manning River district, New South Wales, early 1870s.
Albumen print photograph, carte de visite format, 101 x 62 mm (mount), verso imprinted ‘J. Youdale, Photo., From Sydney’; the albumen print is in very good condition; the mount has some light foxing.
This portrait of an unidentified squatter wearing high riding boots and holding his stockwhip was taken by travelling photographer Joseph Youdale, possibly on Cooplacurripa Station near Nowendoc in the Manning River district.
A fascinating glimpse into the early career in Maitland of photographer Joseph Youdale can be read on the website Photographers of Maitland, 1845-1900
However, Youdale’s life took a turn for the worse in 1870 when he found himself heavily in debt and lost everything he owned. The following notice in Freeman’s Journal (Sydney) published on 24 December 1870 announced that Youdale had been declared insolvent: ‘Joseph Youdale, of West Maitland, photographic artist. Liabilities, £626, of which £500 is secured. Assets, £598. Mr. Humphery, official assignee.’
Youdale appears to have moved to Sydney a short time after this, but numerous newspaper notices from 1871 allude to the protracted dealings with his creditors that dragged on for many months.
By 1872 he appears to have put his bankruptcy behind him, and the next mention of him in the press finds him prospecting on the Manning River gold diggings. The following report was published in the Newcastle Chronicle on 1 February 1873:
‘MINING. Coupla Curripa. — Mr. Joseph Youdale has kindly furnished us with the following particulars respecting the diggings at Coupla Curripa, which will doubtless be read with interest by many of our readers, as this gentleman is well known on the Manning : —”There are about four hundred diggers on the ground, a great number of whom are practical miners. Thus the inexperienced profit by watching some of these miners working. There are some heavy undertakings at the present time, one of which is, the diverting the river from its bed with a view of working the same — that part which consisted of rock having to be blasted. This work has been greatly impeded by the late wet weather, but the miners are working at it again with a hearty good will. The area has been limited up to the present time, as nearly all the diggers confined their operations principally to Nuggety Gully, which is now nearly worked out, and as necessity is the “mother of discovery,” a number of the miners have been prospecting new localities within a mile of the present diggings, with a favourable result. Very little prospecting has hitherto been done. It is believed that there is a large quantity of gold in the bed of the river, which will be proved before long. A new place has been found known as King’s Creek, where a large number of diggers are now at work. Another creek, about one mile from Nuggety Gully, has been prospected with good results, and a large area of ground taken up. Nowendoc and the Mumble rivers are known to contain gold. There is a large extent of country between the two rivers, the distance being about twenty miles, which is looked upon as gold-bearing. The New Zealand party have made a race, and bring water a mile and a half for sluicing purposes. Coupla Curripa, at the present time, is to all intents and purposes a poor man’s diggings, as men can make very fair wages, but they must be prepared for hard work.” Mr. Youdale showed us a very nice specimen, weighing nearly an ounce, and a large quantity of smaller ones. This gentleman was on this gold field for about three months, and states that he has done very well. A party are out looking for a quartz reef, which is believed to exist somewhere in the neighbourhood of the above diggings. A great number of persons are still making their way to this goldfield, and there is also a number leaving. We have seen a private letter, which states that a few of the diggers are suffering from dysentery. Two diggers arrived in town on Monday last, and speak very indifferently about the diggings. Mr. Cleaver returned from the diggings last week, where he had taken a quantity of goods for sale. He gives a very unfavourable account of this goldfield. The reports at the present time are very conflicting. Nevertheless, it is an undoubted fact that some of the diggers are doing very well. — Manning River Times.’
The carte de visite we offer here was almost certainly taken by Youdale in the Manning River district around 1872-73. He was clearly continuing to work as a travelling photographer at this time: his back mark indicates no permanent studio location, but he instead advertises himself as being ‘from Sydney’. Presumably he had some luck on the Manning because he was soon able to open his own studio again in Sydney. Davies & Stanbury (The Mechanical Eye) list Youdale as a photographer at two different addresses (in Bourke Street, Surry Hills, and in George Street in the city) from 1874. His profession is still recorded as photographer when in September 1882 he married, at an advanced age, Elizabeth Latimer of Bega. The wedding was conducted at his residence in Crown Street, Surry Hills. Youdale later moved across the harbour and spent his last years in Mosman. Davies & Stanbury (ibid.) list him as a photographer at Wudgong Street, Mosman as late as 1898 (when he was in his late seventies!). He died at his residence in Belmont Road, Mosman in 1911 at the age of 92.

Wright John photographerview full entry

Reference: See Douglas Stewart Fine Books, July 2020 catalogue:
Overpainted photographic portrait of a beautiful young woman with ringlets. Ballarat, Victorian goldfields, circa 1865.
Albumen print photograph with hand colouring, carte de visite format, 103 x 64 mm (mount), verso with imprint of John Wright, Artist, Sturt Street, Ballarat; the watercolour tinting has some mild surface rubbing and fading and there is a tiny abrasion near the top of the drapes, but the gold of the sitter’s brooch, locket chain and wedding band is all intact; the mount is stable and clean (some insignificant toning spots).
In comparison to most tinted carte de visite portraits made by Australian studios in the 1860s and 1870s – the period when overpainting was most fashionable – the colouring on this example by John Wright’s Ballarat studio is quite extensive. The colourist has treated not only the beautiful young sitter’s velvet jacket and silk dress, but also her cheeks and lips (executed very delicately in rose hues), her gold jewellery (note the composition deliberately draws attention to her wedding band), the scarlet drapes and painted backdrop scenery, the diamond patterns on the studio carpet, and even the table beside her, as well as the large tome resting on it. Judging by the wording on John Wright’s studio back mark, he was presumably both photographer and colourist; this is corroborated by the entry on Wright in the DAAO, which notes that he “exhibited an untitled ‘picture’ at the Melbourne Intercolonial Exhibition in 1866, probably a painted photograph”.
Davies & Stanbury (Mechanical Eye) list Wright as being active at his Sturt Street premises between 1865 and 1869, although the DAAO suggests he continued in business there up until 1873. This portrait was probably taken towards the very beginning of this period, based on the sitter’s dress and hairstyle.

Adelaide Photographic Companyview full entry

Reference: See Douglas Stewart Fine Books, July 2020 catalogue:
Albumen print photograph, carte de visite format, 100 x 61 mm (mount), verso with imprint of ‘The Adelaide Photographic Company, Neales’ Buildings, King William St.’; both the print and mount are in fine condition.
A superb vignette head-and-shoulders portrait of a strikingly handsome youth, no doubt a scion of one of Adelaide’s elite families. The tartan fabric of his shirt (or jacket?) suggests a Scottish heritage.
The Adelaide Photographic Company was at this address from 1864 to 1867, and was managed by F. S. Crawford between 1864 and 1866.

Helsby Malclomview full entry

Reference: Exhibition. Water colors, etchings and pencil drawings of England, France and Belgium by Malcolm Helsby.
[Cover title : Exhibition of the work of Malcolm Helsby]. illustrated, catalogue of 79 works. Foreword by W. P. Robins, R. E. ‘A substantial publication on a largely forgotten South Australian artist. Rare, held in two libraries (SLSA; SLQ).’ from Douglas Stewart Fine Books]
Publishing details: Adelaide : Society of Arts Gallery, 1926. Quarto, lettered wrappers, yapp edges (edge tears), pp. [12],
Ref: 1009

DUESBURY Samuel (1822-1909)view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 catalogue:
DUESBURY, Samuel (1822-1909)
Full-length studio portrait of a gentleman leaning on a chair. Brisbane, 1871-72.
Albumen print photograph, carte de visite format, each 103 x 61 mm, verso with wet stamp of S. Duesbury, Photographer, Edward St., Brisbane; the albumen print and mount are in fine condition.
The Staffordshire-born photographer Samuel Duesbury was active in Brisbane, Queensland betwen 1868 and 1885. Davies & Stanbury (The Mechanical Eye) list him at Edward Street during the years 1871-72 only.

Stewart Cumbrae view full entry

Reference: Exhibition of Cumbrae Stewart pastels
At upper Athenaeum Hall, Collins Street : open daily from Monday 31st March to Saturday, 12th April, 10 a.m. to 5 p.m.. catalogue of 78 works
Publishing details: [Melbourne : Athenaeum Hall, 1924]. Duodecimo, exhibition catalogue, single sheet folded, pp. [6], light stain and crease, tipped-in black nd white plate (Modele qui pose),
Ref: 1000

Melbourne Society of Women Paintersview full entry

Reference: Melbourne Society of Women Painters : Twenty-fifth annual exhibition. Paintings, sculpture, and applied art.
catalogue of 115 works, addresses of the members.
Includes works by Thea Proctor, Sara Levi, E. W. Syme, Dora Serle, Violet Teague, Sybil Craig, Jessie Macintosh, Dora Wilson, Margaret Preston, Hilda Rix Nicholas, A.M.E. Bale, Aileen Dent, Adelaide Perry, J.C.A. Traill, Stephanie Taylor, Marguerite Mahood, Ola Cohn et al.
Exhibition catalogue of women artists exhibiting their twenty-fifth annual exhibtion in celebration of the Centenary of Melbourne.
[All catalogues by this society to be indexed]
Publishing details: Athenaeum Art Gallery, Collins Street. Open October 16-27, 1934. Quarto, graphically designed wrappers, pp. [8],
Ref: 1000

Inner-land : exhibition of Australian contemporary artview full entry

Reference: Inner-land : exhibition of Australian contemporary art. Essay by Ross Gibson, message by Edmund Capon.
Includes work by Gordon Bennett, Leah King-Smith, John Davis, Rover Thomas, Hossein Valamanesh, Maria Rita Barbagallo & Judy Watson.
Scarce.

Publishing details: [Tokyo?] : “Celebrate Australia” Contemporary Art Exhibition Executive Committee, 1993. Quarto, lettered wrappers, pp. [32], illustrated. Text in English and Japanese. Exhibition 9 – 27 November, 1993, Soko Gallery, Shinkiba; Artists’ talk, 11 November, 1993, the International House of Japan.
Ref: 1000

contemporary artview full entry

Reference: see Inner-land : exhibition of Australian contemporary art. Essay by Ross Gibson, message by Edmund Capon.
Includes work by Gordon Bennett, Leah King-Smith, John Davis, Rover Thomas, Hossein Valamanesh, Maria Rita Barbagallo & Judy Watson.

Publishing details: [Tokyo?] : “Celebrate Australia” Contemporary Art Exhibition Executive Committee, 1993. Quarto, lettered wrappers, pp. [32], illustrated. Text in English and Japanese. Exhibition 9 – 27 November, 1993, Soko Gallery, Shinkiba; Artists’ talk, 11 November, 1993, the International House of Japan.

Wherrett Charles photographer view full entry

Reference: see Douglas Stewart Fine Books, July, 2020 catalogue:
A albumen print photograph, carte de visite format, 101 x 63 mm (mount), verso with studio imprint of C. Wherrett, Photographic Artist. Post Office Portrait Rooms. Barker St. Castlemaine. The albumen print is in good condition (a few tiny marks); the mount is very clean.
Charles Wherrett ran a studio in Castlemaine on the Victorian goldfields during the years 1862-3, before moving on to first Sandhurst (Bendigo) and later, Hobart Town.

Hodgkins Frances view full entry

Reference: Frances Hodgkins 1969 – 1947

Publishing details: Auckland : John Leech Gallery, 1998. Oblong quarto, illustrated wrappers, unpaginated, illustrated, price list and invitation enclosed.
Ref: 1000

Schaller Markview full entry

Reference: Mark Schaller : Botanicus fantasticus. Foreword by Helen Hughes, essay by Rebecca Agnew.
The first volume in the Modern Seasons series of publications. Modern Seasons is a publication series presenting a portrait of the four seasons. The four-part publication is a documentation of five Australian Visual Artists response to the navigation of abstracted time and causation in 2020.
Mark Schaller presents Botanicus Fantasticus, Autumn with his en plein air painting performances at the Royal Botanical Gardens that playfully investigates urban retreats as spaces of ‘wild’ nature interactions and interventions.

Publishing details: Melbourne : Fox Galleries, 2020. Quarto, illustrated wrappers with wraparound band, pp. 64, illustrated.
Ref: 1000

Lindauer Gottfriedview full entry

Reference: Maori paintings by Gottfried Lindauer
Pictures from the Partridge collection of paintings Auckland Art Gallery.
Publishing details: Wellington : Reed, 1977 (third revised edition). Quarto, cloth in illustrated dustjacket (edges rubbed, small stain lower panel), pp. 116, illustrated with full page plates of Maori subjects.
Ref: 1000

Yang Williamview full entry

Reference: Sydney Diary 1974 – 1984
William Yang’s portraits of Sydney in the 1970s and 80s
Publishing details: Sydney : James Fraser, 1984. Folio, boards in dustjacket (spine sunned), 143 pp. illustrated throughout.
Ref: 1000

Young Blamireview full entry

Reference: The watercolours of Blamire Young. Direct from London

Publishing details: Melbourne : Decoration Galleries, 1920. Octavo, pp. [8]. cover illustration, essay by Lionel Lindsay, three tipped-in colour plates, catalogue of 32 works.
Ref: 1000

Jackson Darylview full entry

Reference: Daryl Jackson architecture : drawings and photographs. Introduction: Patrick McCaughey ; photographs: John Gollings ; drawings: Jaro Safer ; essay, notations and sketches: Daryl Jackson.
Publishing details: Melbourne : Macmillan, 1984,Quarto, illustrated wrappers, pp. 107, illustrated.
Ref: 1000

Williams Fredview full entry

Reference: Grand Country - Fred Williams in Gippsland. By Simon Gregg.
‘As one of the twentieth century's most innovative and acclaimed artists, Fred Williams (1927-82) was an icon of Australian art. Williams revolutionised the way we see the natural environment through a distinctive approach to landscape. He painted all corners of Australia, from Tasmania to Far North Queensland to remote districts of Western Australia, but what is less well known is that Williams was also a visitor to Gippsland, especially in the years between 1968 and 1979. In those years Williams visited Wilson?s Promontory, the coastline around Walkerville and Waratah Bay, and the Agnes and Toorongo Falls. It was here, in Gippsland, that Fred Williams revolutionised Australian landscape through the creation of a fragmented, ?zip? approach, which enabled him to convey the sense of vastness and nature and its infinite horizons. Grand Countryrepresents the first time that Williams? Gippsland landscapes have been brought together in their totality. The seventeen works have been generously loaned to the Gallery from some of the nation?s greatest collections, such as the National Gallery of Australia and the National Gallery of Victoria. Further loans have been made through the Latrobe Regional Gallery and the estate of the artist. United for this special exhibition, visitors will see the Gippsland landscape as Williams saw it ? a rich palette of colours, dynamic forms, and intense beauty. From beaches to fertile hinterlands to noblewaterfalls, Gippsland brought out the very best in this virtuoso painter, through visions that are now accepted as some of the greatest works of Australian landscape.’
Publishing details: Sale, Vic. : Gippsland Art Gallery, 2019. Quarto, illustrated gatefold wrappers, pp. 40, illustrated. Printed in an edition of 500 copies.

Thompson E Hview full entry

Reference: Light diet : a collection of caricatures & sketches. Cover subtitle: 150 caricatures and sketches perpetrated by a New Zealand artist in and out of hospital. Satirical caricatures of military personalities.
Publishing details: London : New Zealand War Records, [1918]. Quarto, illustrated wrappers (stained and edge worn), pp. [44], illustrated.
Ref: 1000

Dreams and imaginationview full entry

Reference: Dreams and imagination : light in the modern city, by Melissa Miles
Includes illustrations of photographs by Olive Cotton, David Moore, Mark Strizic, Wolfgang Sievers, Max Dupain, Harold Cazneaux et al. [to be indexed[
Publishing details: Melbourne : Monash Gallery of Art, 2014. Quarto, illustrated wrappers, pp. 68, illustrated, exhibition checklist.
Ref: 1000

photographyview full entry

Reference: see Dreams and imagination : light in the modern city, by Melissa Miles
Includes illustrations of photographs by Olive Cotton, David Moore, Mark Strizic, Wolfgang Sievers, Max Dupain, Harold Cazneaux et al.
Publishing details: Melbourne : Monash Gallery of Art, 2014. Quarto, illustrated wrappers, pp. 68, illustrated, exhibition checklist.

How Cliffordview full entry

Reference: Clifford How - Antipodean light. Exhibition invite with brief essay and biography.
Publishing details: Arthouse Gallery, 2020, 2pp
Ref: 224

Artists of Lane Coveview full entry

Reference: see Artists of Lane Cove by Judy Washington. Local Studies Monograph No. 3. Forward by Lloyd Rees. Essays on 17 artists, two sculptors and on the Northwood Group, the Lane Cove Art Society and Centrehouse. Lists awards won by Lane Cove artists as well as numerous references to other artists.
Publishing details: Lane Cove Public Library, 1989, pb, 128pp, with index

Lane Cove artistsview full entry

Reference: see Artists of Lane Cove by Judy Washington. Local Studies Monograph No. 3. Forward by Lloyd Rees. Essays on 17 artists, two sculptors and on the Northwood Group, the Lane Cove Art Society and Centrehouse. Lists awards won by Lane Cove artists as well as numerous references to other artists.
Publishing details: Lane Cove Public Library, 1989, pb, 128pp, with index

Yorick Clubview full entry

Reference: see Wikipedia:
The Yorick Club was a gentlemen's club in Melbourne, Australia, whose membership consisted originally of men involved in the arts and sciences. It was founded in 1868 and dissolved in 1894. The club began informally with a series of informal meetings in 1868 held at the office of Frederick William Haddon in Spring Street, Melbourne. Among its earliest members were Marcus Clarke and Hamilton MacKinnon (his literary executor), Adam Lindsay Gordon, James E. Neild, J. J. Shillinglaw and George Arthur Walstab (1834–1909), author of Looking Back (1864). Later members included Henry Kendall, George Gordon McCrae and the poet Patrick Moloney (1843–1904).[1]
It originally met at King's Cafe in Collins Street, then established clubrooms in the same street above Haigh's tailor's shop,[2] and within a year its membership had grown to 100.[3] The club, which started as a lively, boisterous affair, developed into a respectable institution and expanded its criteria to admit men in the professions. In 1966 the club merged with the Melbourne Savage Club, with which it had had a cordial rivalry for some years.
A "Yorick Club" was formed in Adelaide in 1883,[4] which produced a few stage plays, but failed to thrive.

Yorick Clubview full entry

Reference: Thomas Carrington The Yorick Club: Its Origin and Development May 1868 to December 1910
Publishing details: Melbourne : Atlas Press, 1911
[8], 46 p. : ill., ports. for private circulation.
Ref: 1000

Yorick Clubview full entry

Reference: Forde, J. M., The Yorick Club: Reminiscences and Comments on the Publication, The Yorick Club, Its Origins and Development,
Publishing details: Manuscript, Mitchell Library, Sydney, 1911.
Ref: 1000

Bulletin Theview full entry

Reference: see Archibald, J. F., Genesis of the Bulletin: Being the Memoirs of J. F. Archibald,
Publishing details: unpublished, Microfilm, (ML MSS B670).

Steitz Edgar c1900-1974view full entry

Reference: see GFL Fine art auction catalogue, 16 August, 2020:
100. EDGAR STEITZ
(B.c1900-1974)
ABORIGINAL MAN CARVING A BOOMERANG
Signed and dated 34 on base
Painted plaster
46 x 38 x 38cm
Est: $600/1,200

Swinbourne Florence view full entry

Reference: More Fairies by Peggy Littlejohn Decorated by Florence Swinbourne.
Publishing details: Published by Winn & Co., Sydney 1947. Original borad with colour tipped-in plate, 93 pages, 7 unnumbered plates.

Rodd Nelleview full entry

Reference: Little Miss Anzac - The True Story of An Austalian Doll by Mrs. W.A. Holman Illustrations by Nelle Rodd.
Publishing details: Published by T.C. & E.C. Jack London. no date c1917. Original pictorial board. 30 x 25cm. 70 pages. With 9 colour plates, B&W illustrations.
Ref: 1000

Armstrongview full entry

Reference: The Witty Wizard of Warrandyte. A magical hour in fairyland ? by Frances Chapman and illustrated by Armstrong.
Publishing details: Melbourne, Boobook, [1944]. 29x22cm. Muir 1375.
Ref: 1000

Ferguson-Duell Julie view full entry

Reference: Childrens "Bush sprites of Australia. Volume 1. Featuring Regie and the Ridgetop sprites by? Julie Ferguson-Duell.
Publishing details: [Kincumber, N.S.W.] : J. Ferguson-Duell, 1986. (40) pages.30x22cm. Original boards. Spine strengthened with cloth tape. Muir 2329. Signed limited edition
Ref: 1000

Souter D Hview full entry

Reference: Happy hearts. A picture book for boys and girls. Including The raft in the bush and Chronicle of the court by Ethel Turner. 9 full page plates illustrated by D. H Souter. Text illustrations by various illustrators including Louis Wain.
Publishing details: London, Ward Lock & Co, 1908. 176 pages Muir 7575.
Ref: 1000

Souter D Hview full entry

Reference: The Sunshine Family. A book of nonsense for girls and boys by Ethel Turner &? Jean Curlewis with over 150 illustrations by D.H. Souter[The Bulletin] and H. Bancks [Ginger Meggs] and others.
Publishing details: London and Melbourne, Ward Lock, 1923. 192 pages. 22x19cm. Muir 7647.
Ref: 1000

Bancks Hview full entry

Reference: see The Sunshine Family. A book of nonsense for girls and boys by Ethel Turner &? Jean Curlewis with over 150 illustrations by D.H. Souter[The Bulletin] and H. Bancks [Ginger Meggs] and others. London and Melbourne, Ward Lock, 1923. 192 pages. 22x19cm. Muir 7647.
Publishing details: London and Melbourne, Ward Lock, 1923. 192 pages. 22x19cm. Muir 7647.

Birmingham Karna view full entry

Reference: In the wake of the "Cheerio". The narrative of a memorable cruise in Great Barrier Reef waters by Ivan A. Hughes. Linocuts by Karna Birmingham.
Publishing details: Published by the author in Tempe (Sydney) NSW, 1937.
Ref: 1000

Byrne Harold 1899-1966view full entry

Reference: see Rare Books, Maps & Art - Medical, Australiana & Affordable Art
by Sydney Rare Book Auctions
August 8, 2020: bookplate designed for Fred Lane- this time by Harold Byrnes(1899-1966). Byrnes was known for his depiction the movement of Russian ballet dancers. He was also a printmaker, who often used copperplats. In this bookplate we see a gondolier navigating the moody waters in Venice. The bookplate is printed in sepia on cream paper measuring 17x12cm. The print measures 13x9cm. Signed in pencil and number 15. In good condition

Rock art of the Pilbara Regionview full entry

Reference: Rock art of the Pilbara Region, North - West Australia by Bruce Wright.
Publishing details: Canberra: Australian Institue of Aboriginal Studies 1968. 78 pages of text and 857 illustrations.
Ref: 1000

Aboriginal artview full entry

Reference: see Rock art of the Pilbara Region, North - West Australia by Bruce Wright.
Publishing details: Canberra: Australian Institue of Aboriginal Studies 1968. 78 pages of text and 857 illustrations.

Lindsay Lionelview full entry

Reference: Lionel's Place. Lionel Lindsay. from Maitland Regional Art Gallery Collection. Foreword by Brigette Uren. 2017-2018 exhibition.
Publishing details: Maitland Regional Art Gallery, 2017, Paperback. 69 pages. 92 figures.
Ref: 1009

Century of Household Glassware in Australia view full entry

Reference: A Century of Household Glassware in Australia 1880 to 1980. A Visual Reference and Price Guide by Kevin and Margaret Conway.
Publishing details: Published by the authors 2001. Paperback.
Ref: 1000

glassview full entry

Reference: see A Century of Household Glassware in Australia 1880 to 1980. A Visual Reference and Price Guide by Kevin and Margaret Conway.
Publishing details: Published by the authors 2001. Paperback.

Forde Helenaview full entry

Reference: Australian Land Shells by James C Cox illustrated by Helena Forde
Publishing details: Sydney William Maddock 1868. Original cloth, with 20 colour plates
Ref: 1000

Medland Lilianview full entry

Reference: Birds of Paradise and Bower Birds by Tom Iredale. Illustrated by Lilian Medland.
Publishing details: Melb. Georgian House. 1950. Or.qt.morocco. Dustjacket. 239pp. 33 Col.plates illustrating 138 birds.
Ref: 1000`

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