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

Burtt J Wesleyview full entry

Reference: see letter to the editor by J. Wesley Burtt, The Leader, (Victoria) 13 January 1872, p22 re accusations against him

Carse James Howeview full entry

Reference: see letter to the editor by J. Wesley Burtt, The Leader, (Victoria) 13 January 1872, p22 re accusations against him. Claims the support from Carse in the matter.

Morgan Sylvia 1929 etchingview full entry

Reference: see REEMAN DANSIE timed auction, 21.8.22, lot 146: Sylvia Morgan, 1929, etching, signed titled 'Roadside Shanties' and numbered from an edition of 50, Label to back reading: 'This etching of a roadside shanty in Australia was presented to Admiral Sir Dudley De Chair, during his term of office as Governor of New South Wales, Australia, in 1929', plate 17 x 37cm, glazed frame

Missingham Halview full entry

Reference: Australian alphabet
‘A beautiful child’s picture alphabet of Australian native animals and flora, featuring Missingham’s striking bichrome and trichrome illustrations.’
Publishing details: Sydney : Consolidated Press, [1942]. Small quarto, publisher’s pictorial stiff wrappers [28] pp, chiefly colour illustrations.
Ref: 1009

Bilu Asherview full entry

Reference: Asher Bilu : recent paintings
Foreword by Brett Whiteley.
Publishing details: Melbourne : The Art Gallery, 1988. Oversized oblong folio, lettered wrappers, pp. [90], illustrated.
Ref: 1000

Veal Haywardview full entry

Reference: Hayward Veal 1913 – 1968 Memorial Exhibition, 41 works, a couple illustrated.
Publishing details: Melbourne : Joseph Brown Gallery, 1973. Quarto, illustrated cards, a couple of small stains, pp. [4],
Ref: 1009

Dobell Williamview full entry

Reference: Sir William Dobell. Recent paintings [’Accompanied by the exhibition invite card, the list of forthcoming exhibitions at Newcastle City Art Gallery, and an advertising brochure for the Home and Studio of Sir William Dobell.’ - Douglas Stewart Fine Books copy 2022]
Publishing details: Newcastle City Art Gallery, 1970. Octavo, folding exhibition catalogue, pp. [6], cover illustration,
Ref: 1000

Hickey Daleview full entry

Reference: Dale Hickey life in a box. Exhibition catalogue with essays by Paul Zika, Chris McAuliffe, John R Neeson, Domenico do Clario, John Stringer and Stephen Haley.
Publishing details: Melbourne : The Ian Potter Museum of Art, 2008. Quarto, illustrated wrappers, pp. 40, colour illustrations throughout.

Jubelin Narelleview full entry

Reference: Narelle Jubelin : plantas e plantas = Plants & plans, by Ana Gomes da Silva
Publishing details:
Publisher: Lisboa : Funda-cão Calouste Gulbenkian, 2012
Ref: 1000

Gregory Henry Gregory 1813-1877view full entry

Reference: see Gibson’s auction, Armadale, Victoria, 28.8.22, lot 118:
HENRY GREGORY GREGORY (1813-1877)  a collection of four watercolour and ink drawings  i The Find  signed with initials and titled lower left and right: HG A find  26.5 x 38cm  ii Astonishing the Natives  titled lower left: Astonishing the Natives  26 x 43.5cm  iii A Foraging Party - Pleasing Prospect of Cold Missionary for Dinner  signed with initials and titled lower left and right: HG A foraging party - pleasing prospect of Cold Missionary for dinner  30 x 50cm  iv With the view of making a diversion, and for laying the foundation for some moral and civilised observatories, the Doctor offered his host "if he was fond of children? / The New Zealander replied with a curious expression of countenance, patting his stomach at the same time.  "Oh! yes - me berry fond of children!" [Colburn's Magazine]  26 x 36.5cm   REFERENCE  Shanahan, Mary, Out of Time, Out of Place, Henry Gregory and the Benedictine Order in Colonial Australia, Australian National University Press, 1970   NOTE  For a similar example see Henry Gregory, Gentleman in waiting - for dinner, National Library of Australia   Henry Gregory Gregory (1813-1877) born in Cheltenham, England was educated at Douai and Downside Monastary and subsequently entered the order in 1833. He travelled to Australia in 1835 with first appointed Bishop of Australia, John Bede Polding. It was great privilege for the young Gregory to accompany the Bishop, performing the duty of catechist as he was not yet fully ordained. The following year Gregory spent some time in Norfolk Island as assistant chaplain and showed fortitude during a mutiny there. They returned to Rome, allowing Gregory to complete his doctorate in divinity, bolstering his position in the order and preparing the young monk for great responsibilities in the colony. They sailed back to Sydney in 1843, under Poldings guidance and encouragement Gregory was ordained Prior and later Abbot of St Mary's Abbey, Sydney.   The Irish Catholics had a strong foothold in the colony and did not take fondly to Gregory or Poldings interference. Gregory was ordained vicar-general to Polding in 1844. At the age of 30 Gregory did not possess the diplomatic complexities required to unite the clergy and laity. Following numerous complaints from monks, clergy and laity in Sydney, Gregory was recalled and left Sydney in February 1861. He was later exonerated by the Vatican, but decided to remain in England for the remainder of his life.

Collett William Rview full entry

Reference: see Gibson’s auction, Armadale, Victoria, 28.8.22, lot, 120:
WILLIAM R COLLETT  Views of N.S.W. circa 1842-1853  a leather folio of seventeen watercolours  Blue Mountains, Mount Kembla-Illawarra, Woollongong, Illawarra Lake, Sofala on the Turon, Turon River  some inscribed in image  17.5 x 25.5cm (average)

Rajola Rview full entry

Reference: see Gibson’s auction, Armadale, Victoria, 29.8.22, lot 324:
A SHELL CAMEO BY R. RAJOLA, SYDNEY
A SHELL CAMEO BY R. RAJOLA, SYDNEY
Featuring a carved cameo of a lady in profile, signed RR to verso, original fitted box.

PROVENANCE
The Trevor Kennedy Collection
10 days 21 hours left to bid

Allen Roy etchingsview full entry

Reference: see Gibson’s auction, Armadale, Victoria, 29.8.22, lot 336:
ROY ALLEN Ferry Bower, Manly And A Street In Manly Two Etchings Each Signed And Titled On Margin: Roy Allen 15 X 20.5cm (Each)

Ross Don and friendsview full entry

Reference: see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

Gunthorpe Arthur 1910-2000view full entry

Reference: ARTHUR GUNTHORPE (Australia 1910-2000), 'Friendly Light' oil on board, signed lower left, 59.5 x 74 cm, framed 72 x 86 cm. Titled and artist name verso.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

Gunthorpe Lillianview full entry

Reference: LILLIAN GUNTHORPE (Australian 20th century), untitled (Red and Black Abstract), oil on board, signed lower right, 60.5 x 90 cm, framed 74 x 103 cm. Artist details verso.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022.
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

Hutton Joyview full entry

Reference: JOY HUTTON (Australia 1921-), 'Fragmented Moon', 1971, screen print, artist's proof, image 47 x 37 cm, framed 67 x 59 cm.
see Raffan Kelleher and Thomas auction, DON ROSS & FRIENDS: QUEENSLAND MODERNS
We're pleased to offer a selection of works from the
Estate of the Late Don Ross. Don was a talented artist,
jeweller, mosaicist, musician and great friend to the
Queensland modern art movement
Works include oils and sketches b Don, including of his
beloved wife 'Dicki', and by his friends and
contemporaries, Jon Molvig, Irene Kindness and Irene
Amos, Ted Hockings, Nevil Matthew, Bronwyn Yeates
and James Fardoulys.
Timed Online Auction
Ends 7pm AEST, 21st August 2022
Raffan Kelaher & Thomas is pleased to offer a selection of works from the Estate of the Late Don Ross. Don was a talented artist, jeweller, mosaicist, and musician. His most notable work, the World War II memorial in Anzac Square in Brisbane was completed in 1962. It is composed of 140,000 Venetian glass tesserae. Don had never worked on such a large scale project. It was typical of his spirit in trying new things and mastering each new skill. His early training as a dentist may have helped him in his practice as a master jeweller, and an eye for detail in drawing. Don attended classes with Jon Molvig and Roy Churcher and stayed firm friends. Don exhibited with Churcher and Mervyn Moriarty in 1966 at the Design Art centre in Brisbane. He entered many exhibitions throughout the 1950s and 1960s, winning the Dally Art Group’s prize for contemporary painting in 1964 and was a regular exhibitor in the Contemporary Art Society 1962-65. He gradually developed his interest in jewellery making and was largely self-taught. He was the Queensland representative of Craft Australia for many years, and was a founding member of the Queensland Jewellery Workshop and regular exhibitor. The Brisbane artist Dr Irene Amos commissioned Ross for one off pieces as well as the actor Frank Thring. Don was a prominent and talented member of the Queensland Modern Art scene in its infancy and one can see his development as an artist and his contemporaries in this selection of works dating from the 1960s and 70s, including Irene Amos, Nevil Matthews, Irene Kindness, Lillian and Arthur Gunthorpe and Ted Hocking. These artists exhibited extensively in the formative years of the Queensland modern art scene, including with Roya and Betty Churcher, Jon Molvig and Milton Moon. A small work by Charles Lancaster is included as a representative example of earlier works by leading Queensland artists of the time included in Don’s collection.

Fitzjames Michaelview full entry

Reference: Australian Galleries invite with 4 colour illustreations and catalogue listing 22 works and prices inserted. No biographical information.
Publishing details: Australian Galleries, 2022, 4pp.
Ref: 43

Kuo Grahamview full entry

Reference: see The Collection of Michelle Perry & Graham Kuo, Chippendale Studio, Sunday 4 September, 2022. | Closing Timed auction, Chippendale

Theodore Bruce is delighted to offer the studio collection of Sydney artist, Graham Kuo, and artist, printmaker and gallerist, Michelle Perry. The collection features works by both Kuo and Perry, in addition to a selection from fellow Australian artists including Sydney Ball, Charles Blackman, Marion Borgelt, Cressida Campbell, Fred Cress, Lloyd Rees, Gary Shead & Ann Thomson.
Publishing details: Theodore Bruce , 2022

Gill S T Port Adelaide 1848view full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 14 September 2022. lot 13:
13
S.T. GILL
(1818 - 1880)
PORT ADELAIDE, 1848
watercolour on paper
28.0 x 49.0 cm
signed with initials and dated lower left: S.T.G. / 1848
ESTIMATE:
$80,000 – $120,000
PROVENANCE
Frank T. Sabin, London Kendall Whaling Museum, Sharon, Massachusetts, USA, 1967 New Bedford Whaling Museum, Massachusetts, USA, 2001 (museums merged) New Bedford Whaling Museum deaccession  Marion Antiques & Turkey Auctions, Massachusetts, USA, 9 April 2022, lot 9 (as ‘South Australia, Port Adelaide’) Private collection, Melbourne
RELATED WORKS
Port Adelaide looking across Gawler Reach, 1847, watercolour on paper, 19.7 x 32.4 cm, in the collection of Art Gallery of South Australia, Adelaide Port Adelaide looking across Gawler Reach, 1848, watercolour on paper, 28.2 x 46.1 cm, in the collection of Art Gallery of South Australia, Adelaide
CATALOGUE TEXT

S. T. Gill
Port Adelaide looking across Gawler Reach, 1848
watercolour on paper
28.2 x 46.1 cm
Art Gallery of South Australia, Adelaide
Widely recognised as one of the most engaging and observant artists of Australian colonial life, the young Samuel Thomas Gill, aged twenty-one, arrived with his parents and siblings in December 1839, only three years after Adelaide was founded on the lands of the Kaurna people. Having received training in Plymouth and London, within three months Gill was promoting his artistic availability. In an advertisement in The South Australian Gazette and Colonial Register, he proclaimed his willingness to capture ‘correct likenesses’ of individuals, horses, dogs, local scenery and residences ‘sketched and… suited for home conveyance’, to record and inform distant family and friends of life in Australia.1 In addition to these domestic genres, Gill travelled to townships around the colony, undertaking commissions including recording the early copper and silver mining industries, and participating in exploratory travels.   Gill’s skill and presence in the new city was a boon to those wishing to have evidence of its growth, and to promote its possibilities. In 1845, he was commissioned by local newspaper owner James Allen to paint a series of views of Adelaide, which Allen then took to England and used to illustrate a series of lectures in 1846, intended to entice immigrants and investment. This program was heartily supported by the South Australia Company, the original investors in this colony-as-commercial-enterprise, who subsequently owned many of the paintings. The majority of the views displayed by Allen were lively streetscapes of Adelaide’s major roads, marvellous records of the town’s early architecture and bustling population. The commission also included two views of Port Adelaide. Built on the mangrove-lined tidal estuary of Yerta Bulti, as it is known to its original owners, and following considerable debate about its best (or least worst) location, the Port had been formally opened in its current location in 1840.  Gill is well known for returning in his later years to earlier scenes and events, as with his series recalling life on the goldfields commissioned by the Melbourne Public Library (now State Library Victoria) in 1869, or episodes from the ill-fated Horrocks Expedition of 1846. Port Adelaide, however, was one location that he captured in multiple watercolours in a short period of time, evidence of this vital infrastructure for exporting the proceeds of its new produce, agricultural and mineral industries. With the emergence of this wonderful watercolour from institutional storage, four finished watercolours of this outlook on the banks of Gawler’s Reach are now known (two in the Art Gallery of South Australia; National Library of Australia), plus further studies.2 Another earlier version (presumably one of Allen’s) remains unlocated, the source of the watercolour painted in London by English artist-copyist Thomas Hosmer Shepherd (now Art Gallery of South Australia), and also for the hand-coloured lithograph in George French Angas’ South Australia Illustrated, published in London in 1847. Views by Gill from the other side of the river are also known in multiples.3
The scene here looks southeast across the calm river to the port’s facilities and the Mount Lofty Ranges on the distant horizon. On the left, the large red two-storeyed building is the warehouse of the South Australian Company, above their McLaren Wharf (named for the manager of the Company). The central light-coloured stone building is the Customs House, above the Government’s Queen’s Wharf and warehouses. And the third building of note, on the right, is the Port Tavern, now proudly two-storey like the others. This was a comparatively recent development after the original single-storey building was destroyed by fire on 29 January 1847. In Gill’s various versions, we can see the original tavern, construction in progress amid a grid of scaffolding, and the resulting new tavern. Thus by 1848, when this painting was created, the Company, Government and inn make up the triumvirate of buildings necessary for seamen in town and mercantile activity.  Before them, upon the river, Gill depicts a range of watercraft, from ships that have sailed across turbulent oceans to small dinghies and rowboats. It is clear that Gill made close observations of these vessels. Versions painted up to 1847 show the French ship Ville de Bordeaux, which had been seized for illegal trading, at anchor at the right of the image. In the Art Gallery of South Australia’s 1848 watercolour, the steamer Juno is depicted on the left, one of the first examples of steam-powered ships to travel to the colony. Interestingly, the South Australia Company also owned that watercolour, demonstrating their understandable ongoing interest in the development of the Port and their resulting profits. The Company subsequently donated that and other paintings to the now Art Gallery of South Australia in 1890.4   While Gill carefully recorded the ships, it is impossible to say how much the characters who populate the foreground of these works are individuals he observed, or whether they are ‘types’ – staffage drawn from his precise grasp of anatomy and posture. There is evident repetition in the foreground accoutrements – the rotting wicker basket, discarded wine bottles, spar and anchor, and remnant mangroves on the muddy bank – but there is little sense of rote duplication in these paintings. Instead, Gill makes evident his enjoyment in each scene, deftly capturing the trivia of daily life, from mending a net to contemplating the changing tide.  For the last fifty-five years, this watercolour has been in the United States, in the Kendall Whaling Museum collection, later merged with the New Bedford Whaling Museum. Commercial whaling had begun in South Australian waters long before the colony was founded, and whaling was the first industry established by the South Australia Company upon its arrival on Kaurna land in 1836. Although American whalers were active in these waters from the early 1800s, it is understandable that the Museum decided this painting was not relevant to their collection. Their custodianship has, however, helped protect it from excessive light exposure and the watercolour retains its crisp colours for our enjoyment today.   1. South Australian Gazette and Colonial Register, 7 March 1840, p. 1 2. A small watercolour is either by Gill or his friend Eliezer Montefiore (State Library of New South Wales SSV*/Sp Coll/Gill/3), while the National Library of Australis holds related sketches. 3. See David Coombe’s interactive map of Gill’s depictions of Port Adelaide at umap.openstreetmap.fr/en/map/s-t-gill-port-adelaide_494979#17/-34.84020/138.50458 4. The South Australia Company donated art to the Art Gallery of South Australia in 1890, 1929 and 1931, twenty-four works in total – of which fifteen are by Gill.  ALISA BUNBURY

Earle Augustus A Peruvian 1820view full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 14 September 2022. lot 15
15
AUGUSTUS EARLE
(1793 - 1838)
PEDRO RIMA CONDOR. A PERUVIAN, AND REGULAR DESCENDANT, OF THE ONCE ILLUSTRIOUS FAMILY OF THE INCAS, 1820
pencil and watercolour on paper on the artist’s washed paper mount
31.0 x 21.0 cm (sheet) 37.5 x 26.0 cm (mount)
inscribed with title and date on artist’s paper mount: Pedro Rima Condor. / a Peruvian, and regular descendant, of the once Illustrious Family / of the Incas. at present a Servant in the House of Sr Abadia Lima. Drawn from / nature. / 1820.PROVENANCE
Possibly: The artist’s family (It seems probable that Pedro Rima Condor was once owned by a member of Earle's family. The portrait is mounted in the same way and carries the same kind of inscription (without the numbering), of the many drawings from an album once owned by Earle's half-brother, the Royal Navy hydrographer William Henry Smyth (the drawings are now part of the Nan Kivell collection, National Library of Australia) Private collection, Northumberland, United Kingdom Bearnes Hampton & Littlewood, Exeter, United Kingdom, 16 April 2021, lot 1562 (as ‘British School Early 19th Century - Portrait of Pedro Rima Condor, Full-length Standing’) Private collection
LITERATURE
This work will be included in the forthcoming monograph by Dr Mary Eagle on Augustus Earle.
CATALOGUE TEXT
A poignant image from embattled Viceregal Peru on the eve of the declaration of independence, this is a hitherto unknown watercolour from Augustus Earle’s visit to Lima, Peru between mid-July and early November 1820. Although modest and disarming in format (as if Earle is disguising his subversive message, sotto voce, in the familiar clothing of the costumbrismo tradition), the artist’s portrait of Pedro Rima Condor nevertheless broadcasts an indictment of Spanish colonial rule and its ruthless exploitation of the indigenous population – a message reiterated in Earle’s inscription. Earle’s subject here anticipates the subject matter that would interest and occupy the artist throughout his ever-itinerant career, as the indigenous, the colonised, and the enslaved, became centre stage in so much of his subsequent work in South America, Australia, New Zealand, and Asia. The portrait of the indigenous Pedro Rima Condor was painted in 1820 within a year of the proclamation of Peru’s independence on 28 July 1821, albeit decades before the feudal society of the Spanish Viceroyalty it so eloquently critiques was finally replaced by a democratic Republic. Earle’s portrait is as spare and mournful a marker of colonial Peru in 1820, as Rugendas’ suite of Peruvian paintings of the 1840s are extravagant and celebratory markers of the newly emerging Peruvian nation. ‘…The manner of this drawing in pencil, ink and watercolour, the uncanonical pictorial concept, and the English inscription and style of handwriting1 strongly substantiate the world-travelling Anglo-American painter Augustus Earle (1793 – 1838) as its creator. The attribution firms when we take into consideration that the work was painted in the embattled Spanish stronghold of Lima, in 1820. War was then imminent and Earle is the only non-Peruvian artist known to have been in Lima in 1820. Peru was embattled because Chile, the country bordering it on the south, upon throwing off Spanish rule in 1817 had turned immediately to the task of forcibly removing Spain from the region. Chile’s navy was under the control of Lord Cochrane, a profit-minded, ex-naval officer from England, who instituted a policy of raiding ports along the coast of Peru and confiscating ships and merchandise. In 1819, Cochrane temporarily blockaded Lima’s port of Callao, interrupting shipping in and out of the port. In August 1820, his squadron transported Chilean troops to a place from which they could attack Lima, then sailed on to blockade Callao, again freezing the movement of vessels into and out of the port. Peru declared its independence in July 1821.

Disembarking from a small American trading vessel in mid-July 1820, Earle moved freely between the port and the city six miles away, until early November when the Spanish administration ordered the immediate exodus of non-resident foreigners, and Earle, together with others of his nationality, was collected from the coast outside Lima by a British warship. For a month, he watched events from aboard HMS Hyperion before sailing on that vessel on 12 December, bound for England. The portrait of Pedro Rima Condor was painted sometime during the four and a half months between mid-July and early November. Painstakingly drawn from life, it pictures a subdued man, dressed in ragged clothes, his gaze averted from the artist. The portrayal was out of keeping both with Peruvian art and with the prevailing international mode of portraying national and occupational types. Portraits drawn from life were then very rare in Peru where a strong tradition existed of formal portraits in which the subject's social position was expressed through elaborate detailing and a lavish display of jewellery and gold leaf. (Besides Spanish Peruvians, the tradition included portraits of Inca ‘grandees.’) Capturing a facial likeness and a lifelike presence was of less importance in those beautiful images than portraying the subject’s place in society. After Peru’s independence, an existing international tradition flourished, of costumbrismo prints and drawings that portrayed a range of local occupations. These, too, were not portraits drawn from life but standardised depictions of the costume, activities, and mannerisms of a range of Peruvian types.2

The inscription below the portrait informs us that Pedro Rima Condor was a descendant of ‘the once Illustrious Family of the Incas.’3 The ‘Rima’ and ‘Condor’ of his name are variations of words in the Inca language Quechua (this being the sole Inca language the Spanish conquerors attempted to use and record). ‘Cuntur’ was the Quechua word for the great bird, the ‘condor’. Rima = Lima = Rimac referred to an Inca god (Rimachi – son of Tupac Inca) and to the region encompassing Lima and the Rimac river valley (this having been the most densely populated region in the Inca empire). As with many of Earle’s portraits, the face is shown in three-quarters view. The fully rounded head is sculpted to show the flat ridge of the forehead, the slope of the temple – its angle is echoed below by the line between nose and jaw – the long straight jut of nose, the small dark eyes rimmed by flesh, the distinctively shaped cheeks under high cheekbones, jutting lips, small chin and a slightly sunken jaw that curves below the cheek before turning in a straight line to the ear. As in other carefully studied portrait drawings, Earle outlined the fine wrinkles on the neck and cheeks, the broader frown lines on the forehead, and the parallel lines of facial hair. As well as following the bodily form, these lines delicately trace the lines of age and indicate a sustained unhappiness. Earle may have had Pedro in mind when, eleven years later, he characterised the Incas as ‘gentle and civilised.’4 The inscription goes on to say that Pedro Rima Condor was a servant in the home of ‘Sr Abadia.’ The servant’s shuttered face above patched and torn clothes could indicate an apathetic disregard for personal appearance, yet Pedro cared about personal hygiene – his shirt is clean – therefore the ragged outer garments were not due to carelessness but to sheer poverty. What does this say about his employer?
Don Pedro Abadia was a prominent and influential Spanish merchant of Lima. Unlike the majority of Peru's Spanish merchants and administrators – who were monopolist and set in their ways – Abadia publicly endorsed free trade and modern machinery (for example, he imported English steam engines and employed Cornish miners to manage his mines in upcountry Peru), hence he was nudged into playing a major role in the trade war that accompanied the decline of Spain's power internationally in the early 1800s. Speculative traders from around the world, hoping to open rich new markets, flocked to Callao and on arrival sought the support of Abadia. Earle's first visit to the house would have been with the American trader, Captain Zacharias Nixon. In 1821 and 1822 Sir Walter Scott's garrulous friend, Captain Basil Hall, who patrolled the west coast of South America, on naval duty to protect British trading vessels, made a brief contact with Abadia, describing him as a generous public figure. Richard Cleveland, an American trader who had business dealings with Abadia and his partner, explained Abadia’s power: ‘His talents and education, and the extraneous circumstances of his being agent at Lima of the Philippine Company, and of his brother's being about that time one of the cabinet of King Ferdinand all combined to give him an influence with the Viceroy and the Cabildo, unsurpassed by any other individual in the kingdom.’ Cleveland was less complimentary about Abadia as a person: ‘... although of superior education, and extensive intercourse with mankind, he was bigoted and priest-ridden.’5 To which Earle’s portrait adds a further note – Abadia's generosity did not extend to his servants.  Earle's independent eye has earned him much attention – even more now that the imagery from Europe's colonies has come under serious review. Unlike the majority of artists who travelled abroad, Earle had few commercial outlets for his work. Apart from coastal profiles, panoramas and portrait commissions, he had two engagements as an illustrator. Most of his depictions of social life (totalling around 200) went into the possession of his family, and those works, rather than connecting with the practices of traditional travel art and the new modes of natural science, were Earle's private comment on what he saw in the many places he visited. Accordingly, it seems probable that Pedro Rima Condor was once owned by a member of Earle's family. The portrait is mounted in the same way and carries the same kind of inscription (without the numbering), of the many drawings from an album once owned by Earle's half-brother, the Royal Navy hydrographer William Henry Smyth (the drawings are now part of the Nan Kivell collection, National Library of Australia). Of Earle’s four known Peruvian subjects (four, now this work has surfaced), Smyth’s album included two, both of them coastal profiles. One is a drawing of the fort of Callao, evidently sketched from the deck of the Warrior between the American ship's arrival and Earle's disembarkation (National Library of Australia). The other is an immensely long 360-degree panorama sketched from aboard HMS Hyperion during the month that vessel hovered out of reach of Callao's guns (also National Library of Australia), while the third (untraced) Peruvian work, Road from Callao to Lima, is known through a copy drawing in the British Museum.  1. Earle's handwriting changed slightly over the years. This inscription fits the date of the work.  2. See exhibition catalogue: Maljuf, N., Reproducing Nations: Types and Costumes in Asia and Latin America, ca. 1800 – 1860, Americas Society, New York, 2006. 3. According to Stevenson in A Historical & Descriptive Narrative of Twenty Years’ Residence in South America (1825), p.303, ‘The principal occupations of the Indians who reside in Lima is the making of fringes, gold and silver lace, epaulettes, and embroidery; some are tailors, other attend the business of the market, but very few are servants or mechanics.’ 4. Augustus Earle, A Narrative of a Nine Months' Residence in New Zealand in 1827; together with a Journal of a Residence in Tristan d'Acunha, London, 1832, p. 9 5. Cleveland, R.J., Narrative of Voyages and Commercial Enterprises, 3rd edition, Charles H. Peirce, Boston, 1850, pp. 392 – 3

We are grateful to Dr Mary Eagle for kindly granting permission to reproduce excerpts from her research on the present work, to be included in her forthcoming monograph on Augustus Earle.

Rae John Panorama of Hyde Parkview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 14 September 2022. lot 16
JOHN RAE
(British/Australian, 1813 - 1900)
PANORAMA OF HYDE PARK, c.1893
watercolour on photographs on paper on stretched linen
21.0 x 144.5 cm
inscribed upper centre: 1842 inscribed lower centre: Hyde Park / Drawn with Camera by John Rae Town Clerk inscribed upper left: Supreme Court/ and Watch House, St. James Anglican Church, General Hospital/ (now Mint), Hyde Park Barracks inscribed upper centre: Campanile, Seminary, St. Mary's R.C. Cathedral, Markers Mill, Gerard's Mill, Victoria Terrace/ John Alexander, Colonel Mundy, Judge Dickinson/ Craigend Mill inscribed upper right: The Museum, Darlinghurst Jail, Sydney College/ (now Grammar School), Hyde Park Terrace, Lyons Terrace inscribed centre right: Prosper De Mestre/ Liverpool St. inscribed lower right: King/ The Flying Pieman.
PROVENANCE
G. E. Friend, Sydney (label attached verso) Sam Whitney, Sydney John Williams, Sydney, 28 August 2011, lot A28 Private collection, Sydney
EXHIBITED
The Royal Australian Historical Society, Sydney
RELATED WORKS
Supreme Court and St James Church, from Elizabeth Street, 1842, watercolour, 25.0 x 33.5 cm, Mitchell and Dixson Collections, State Library of New South Wales, Sydney Hyde Park, St James Parsonage Dispensary, afterwards the Mint, and Emigration Barracks, 1842, watercolour, 26.0 x 34.5 cm, Mitchell and Dixson Collections, State Library of New South Wales, Sydney Hyde Park, St Mary's Cathedral and Belfry, 1842, watercolour, 26.5 x 34.5 cm, Mitchell and Dixson Collections, State Library of New South Wales, Sydney Hyde Park, windmills, Woolloomooloo, Darlinghurst Gaol, Museum, Sir E. Deas Thomson's house, 1842, watercolour, 26.0 x 33.0 cm, Mitchell and Dixson Collections, State Library of New South Wales, Sydney Hyde Park, Museum, Darlinghurst Gaol, Sydney Grammar School, Burdekin's and Lyons' Terraces, 1842, watercolour, 26.0 x 34.0 cm, Mitchell and Dixson Collections, State Library of New South Wales, Sydney Junction of Elizabeth & Liverpool Sts, Hyde Park, Burdekin's Terrace, Lyons' Terrace, outlet of Busby's Bore, 1842, watercolour, 26.0 x 34.5 cm, Mitchell and Dixson Collections, State Library of New South Wales, Sydney.
This 180-degree panorama of the open expanse of Sydney’s Hyde Park in the 1840s is unrecognisable to those familiar with the deeply shaded, tree-lined park we know today. It is a rare example of evolving technologies of visual reproduction used in the nineteenth century, by a man who was influential in the growth of Sydney over six transformative decades. Born and educated in Aberdeen, John Rae arrived in New South Wales in 1839 and was appointed by the newly formed Municipal Council as the city’s first full-time town clerk in 1843. From then until his retirement in 1893, he was actively involved in the shaping of the city, holding prominent public service positions.  Rae was also an enthusiastic participant in Sydney’s burgeoning cultural scene. He helped organise the first exhibition of the Society for the Promotion of the Fine Arts in 1847; painted; published; acquired art and a notable library; and was a popular lecturer at the Mechanics’ School of Arts, speaking on topics ranging from poetry to photography.1 He was well versed in this latter topic, using a home-made portable camera obscura from the 1840s, and practicing as an early proponent of photography from the 1850s. He even built a camera obscura on the roof of his house, Hilton, in Darlinghurst, as was reported in the Sydney Morning Herald, which published lengthy accounts of his lectures on this new technology in 1855.2 The principles of the camera obscura, by which a scene can be projected onto a surface through a pin-hole or lens, had been known for centuries and was employed by many artists as sketching guides. Rae used these projections as the basis for accurately rendered, multi-sheet watercolour panoramas of numerous locations in Sydney as well as Newcastle, Wollongong and pastoral vistas. Many of these watercolours are held in the State Library of New South Wales collection, including the sheets that make up his view of Hyde Park from Elizabeth Street, capturing Sydney-siders riding, promenading and playing multiple cricket matches.3 Although the watercolours are dated 1842, some of the buildings depicted were not constructed until later in that decade and it seems likely that Rae signed them retrospectively.4 This tallies with the knowledge that he returned to his earlier art in the 1880s and 1890s, exhibiting in the Calcutta International Exhibition (1883) and again, at the Melbourne Centennial International Exhibition (1888 – 89).   Around 1893 a selection of Rae’s early watercolours were photographed and published in album format; he also hand-coloured a number of these photographs. Such is the case here: six photographs of the Hyde Park set have been carefully aligned and pasted together, overpainted with watercolour such that the underlying photograph can barely be seen. Buildings have been carefully labelled and the central inscription notes that they were ‘drawn with camera’ by Rae.5 Further examples of these hand-coloured photographs are held in the City of Sydney art collection, in a set gifted by the artist to a friend.6 Upon his death in 1900, an appreciative obituary noted that ‘many interesting relics of Old Sydney have been preserved from forgetfulness by Mr Rae’s brush and pencil.’7  1. The Mechanics’ School of Arts was the forerunner to the Sydney Technical College, now part of TAFE New South Wales. 2. ‘Photography. Being some extracts from a lecture delivered by John Rae’, The Sydney Morning Herald, 14 September 1855, p. 8, and ‘School of Arts’ [Mr Rae’s second lecture], The Sydney Morning Herald, 20 September 1855, p. 2 3. DG V*/Sp Coll/Rae/1, DG SV*/Sp Coll/Rae/16-20, State Library of New South Wales 4. For example, the roof of the Australian Museum was not started until 1849. 5. The Australian Museum did not open until 1857, the same year that Sydney Grammar took over the buildings of Sydney College.  6. Margaret Betteridge, Sydney Town Hall: The Building and its Collection, Council of the City of Sydney, 2nd edition, Sydney, 2016, pp. 138 – 39 7. The Sydney Morning Herald, 17 July 1900, p. 4  ALISA BUNBURY

Buvelot Louis BACCHUS MARSH PASTURE, 1876view full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 14 September 2022. lot 17
LOUIS BUVELOT
(1814 - 1888)
BACCHUS MARSH PASTURE, 1876
oil on canvas
58.0 x 86.5 cm
signed and dated lower left: Ls Buvelot. 1876 bears inscription on frame verso: L Buvelot. N1  framer's label attached verso: Isaac Whitehead Carver & Gilder
PROVENANCE
Hon. J. A. MacPherson, Victoria, acquired directly from the artist in 1876 Thence by descent Private collection, United Kingdom Private collection, Sydney, acquired from the above in 2021
LITERATURE
The Argus, Melbourne, 31 July 1876, p. 4 Gray, J., Louis Buvelot: his life and work, Masters Research thesis [unpublished], VCA – School of Art, The University of Melbourne, 1977, ‘Miss Ellen Frey’s list of works [alphabetical, by title] and owners, 1904’, vol. 2, cat. 6 (as ‘Bacchus Marsh Pasture, Hon J Macpherson’)
‘M. Buvelot has just completed for the Chief Secretary, an oil painting representing a quiet landscape at Bacchus Marsh. The features of the landscape are very simple, and but for the two white gum trees, which occupy a prominent position in the foreground, the scene might be mistaken for an English one. An amphitheatre of low wooded, and softly rounded hills encloses a verdant arena, in which a rich crop of thistles bears a not indistinct resemblance to a field of standing corn. A waterhole set in a green framework of scrub, lights up the picture pleasantly, and reflects the sheen of the summer sky, and while the tone of the picture is bright and sunny, the sentiment it breathes is one of perfect repose.’1  Within a few years of his arrival in Melbourne in 1865, aged fifty-one, Swiss-born Louis Buvelot was the most admired landscape artist working in the colony of Victoria, superseding his predecessor Eugene von Guérard, the elder by four years. In contrast to von Guérard’s carefully rendered (or to some, ‘laborious’) depictions of pastoral properties and awe-inspiring remote scenery, Buvelot was praised for being ‘disdainful of tedious detail… With the dry bed of a creek, some ragged scrub, a patch of verdure, and the rugged stem of an old gum tree he succeeds in constructing a picture which you can return to again and again with pleasure’.2 By 1870, three substantial landscapes by Buvelot had been acquired for the newly formed National Gallery of Victoria. Although von Guérard was appointed painting master for the Gallery School over Buvelot, it was Buvelot’s more fluid approach that had the greater impact among his contemporaries and successors. Arthur Streeton, Frederick McCubbin and Tom Roberts came to regard him as ‘the father of Australian landscape painting’, McCubbin stating that ‘there was no one before him to point out the way; he possessed, therefore in himself the genius to catch and understand the salient living features of this country’.3  Buvelot first visited and began sketching the waterways, floodplains, cleared paddocks and forested hills around the small township of Bacchus Marsh, set between the Lerderderg and Werribee rivers, in autumn 1876. Although he did not paint en plein air, the numerous pencil sketches he drew – helpfully dated and titled – were the source for several oil paintings completed later that year in his Fitzroy studio. These included two views of Goodman’s Creek (Art Gallery of New South Wales, University of Melbourne) and a watercolour of the nearby Pentland Hills (Art Gallery of New South Wales), which was translated into a chromolithograph gifted to subscribers to the Art Union of Victoria.4 Buvelot was also painting to commission: one scene of Bacchus Marsh was produced for local art collector Thomas Welton Stanford, praised by a reviewer as ‘a perfect gem… the best work that has yet emanated from M. Buvelot’s studio’.5 Two months later, Bacchus Marsh pasture, 1876 was similarly praised in the media, painted on commission for John Alexander MacPherson.6
Not enough is yet known about MacPherson as a collector. Born into a pastoral family, and trained as a lawyer, he was elected to the Victorian Parliament in 1864, serving briefly as the seventh Premier of the colony (September 1869 – April 1870). Notably it was during these months that the new Public Library, Museums and National Gallery of Victoria Act was passed and MacPherson and several of his ministers were appointed trustees, a position he held until 1880. As discussed in lot 14, he was known to be acquiring art as early as 1870, and in 1876, while serving as Chief Secretary, MacPherson commissioned at least two paintings: a dramatic mountainous Gippsland view from von Guérard (now Kerry Stokes Collection, Perth),7 and this, a distinct contrast in its tranquillity and benign rusticity, the young woman tending the cows akin to a peasant in Dutch landscapes of the seventeenth century. Bacchus Marsh pasture remained with MacPherson’s descendants until recently. It is housed in its original gilt frame, demonstrating the best-known style of the pre-eminent Melbourne frame maker Isaac Whitehead.8   Buvelot’s declining eyesight prevented him from painting in his last years. He died in May 1888 and was buried in Kew Cemetery: a publicly funded monument was later erected. Only two months after his death, the National Gallery of Victoria held a commemorative retrospective, the first such exhibition of an ‘Australian’ artist.9 Few recall his early, successful career in Brazil (1835 – 52), almost equal in years to his working career in Australia but without the posthumous and continuing praise and recognition.  1. The Argus, Melbourne, 31 July 1876, p. 4  2. ‘The Exhibition of the Victorian Academy of Arts’, The Argus, Melbourne, 1 December 1870, p. 7 The von Guérard quote above is also from this review. 3. McCubbin cited in The Art of Frederick McCubbin, The Lothian Book Publishing Co., Melbourne, 1916, p. 85. 4. Summer evening in the Pentland Hills, 1876, chromolithograph, various collections. 5. ‘News of the day’, The Age, Melbourne, 18 May 1876, p.3. Stanford is briefly discussed in Gerard Vaughan’s ‘Art collectors in colonial Victoria 1854 – 1892: An analysis of taste and patronage’, University of Melbourne, BA Hon. thesis, 1976, pp. 16, 44 – 45. MacPherson is not mentioned. 6. Miss Frey, executor of Madame Buvelot’s estate, titled Stanford’s painting Bacchus Marsh, stream and this Bacchus Marsh, pasture, in her list L’oeuvre australienne de Louis Buvelot de Morge, 1905. See Jocelyn Gray, ‘Louis Buvelot: his life and work’, Victoria College of the Arts (University of Melbourne) MA thesis, 1977, vol. 2, n.p.  7. The Argus, Melbourne, 24 July 1876, p. 5 8. Holly McGowan-Jackson and Jessica Lehmann, ‘Framers in focus: Isaac Whitehead’, 26 July 2021, see: https://www.ngv.vic.gov.au/essay/framers-in-focus-isaac-whitehead 9. One of the Gallery’s rooms (now State Library Victoria) was named the Buvelot Gallery.  ALISA BUNBURY

Carabain Jacques Adelaide 1907view full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 14 September 2022. lot 18
JACQUES CARABAIN
(Dutch, Belgian, 1834 - 1933)
KING WILLIAM ST, ADELAIDE, 1907
oil on canvas
95.0 x 125.0 cm
signed and dated lower left: Jacqs - Carabain / 1907 signed and inscribed on artist’s label verso: The Main Road a Adelaide Western Australia/ original / Jacques / Carabain.
PROVENANCE
probably: sold at auction, Antwerp, May 1968 (as ‘View of Adelaide’) Private collection Christie's, London, 18 March 1969, lot 113 (as 'Looking South along King William Street, Adelaide') Corporate collection, Melbourne Corporate collection, Sydney
LITERATURE
Fish, P., ‘Wild scenes at glimpse of what's on offer’, Sydney Morning Herald, Sydney, 23 August 2008, p. 64 (illus.)
Described as the ‘Canaletto of colonial thoroughfares’, Jacques François Carabain is one of the cohort of European artists who spent time in ‘Marvellous Melbourne’ in the later nineteenth century.1 Born and trained in Amsterdam, he travelled widely throughout Europe, honing his ability as a painter of brightly lit, romantic-realistic views of cityscapes and historic buildings. In 1880 he became a Belgian citizen. Carabain’s biography in Australia is less clear, with his earliest known painting of an Australian landscape – of the river port of the Yarra – dated 1879 (ANZ Collection). However there is no other evidence that he had arrived by that date – indeed newspaper articles of 1885 describe Carabain as a recent arrival, setting up a studio in Collins Street east (the artists’ end) and exhibiting with the Victorian Academy of Arts in March of that year.2 Although offering portraiture ‘as the most immediately remunerative’ art form, landscapes were clearly his passion, and a local reviewer praised them as ‘notable for a certain sunny quality, for the accuracy of their local colour, and for the realism of their treatment.’3  This view of Adelaide is one of a number of impressive antipodean streetscapes by Carabain: of Collins and of Swanston streets in Melbourne (State Library of Victoria); King and George streets in Sydney (National Library of Australia); and of Queen Street in Auckland, a highlight painting in the collection of the Auckland Art Gallery Toi o Tāmaki. In this Adelaide view, Carabain shows King William Street from the corner of Currie Street, looking north to the belltowers of the Adelaide Town Hall (left) and the General Post Office (right). The imposing edifice that dominates the scene is the Bank of Adelaide, built in 1880 – 01 with dramatic two-tone stonework, not apparent in this rendition. While the painting is dated 1907, it is evident that Carabain based his view upon an earlier photograph, a practice he is known to have employed.4 The small two-storey building beside the bank, for example, was replaced in 1898 with the ornate National Mutual Life Association building that remains today.5 Noticeably, when compared with photographs from the 1880s and ‘90s, Carabain has made the aesthetic decision to omit the large, insulator-laden telegraph poles that marched along the major roads, and their multitude of taut wires that bisected the sky (conversely, he did include them in his views of Collins and Queen streets).6 Tom Roberts made a similar excision, avoiding the wires in his famous impressionist painting, Allegro con brio, Bourke St West c.1885 – 86 (National Gallery of Australia). Carabain also only hints at the horse-drawn trams that ran along King William Street. By doing so, he conveys a calm, prosperous and orderly city, its occupants enjoying the morning sun.   1. Roger Blackley, The Guide, Auckland Art Gallery Toi o Tāmaki, 2001, see: www.aucklandartgallery.com/explore-art-and-ideas/artwork/6706/queen-stre... 2. ‘The Victorian Academy of Arts’, The Argus, Melbourne, 28 March 1885, p. 13. Similarly, it is not confirmed when he left Australia, with 1889 often cited. 3. ‘Art notes’, The Argus, Melbourne, 27 April 1885, p. 6 4. Queen Street, Auckland was based upon a photograph by George Valentine. It is not confirmed whether Carabain personally visited New Zealand. Similarly, the 1879 painting of the Yarra is likely to have been based on a photograph. 5. While Carabain was typically very accurate, the two buildings painted beside the bank do not correspond to the buildings recorded in photographs. 6. Collins St, Melbourne, 1889, oil on canvas, 125.0 x 95.0 cm, sold Christies, Melbourne, 26 November 1996, lot 144  ALISA BUNBURY

Hirschfeld-Mack Ludwigview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 14 September 2022. lots 61-69
text for lot 61:
LUDWIG HIRSCHFELD-MACK
(German/Australian, 1893 - 1965)
RED, GREY AND ORANGE COMPOSITION, c.1935
oil on compressed card
35.5 x 49.5 cm
signed lower right: L. H. MACK signed verso: L. H. MACK
Ludwig Hirschfeld-Mack arrived in Australia on the HMT Dunera, disembarking in Sydney Harbour in early September 1940. It had been a long and complicated journey. Having left his wife and children in Germany some years earlier, when the rise of Nazism made finding permanent employment for someone of his Jewish heritage almost impossible, Hirschfeld-Mack was teaching in England. Following the fall of France in May 1940, he was interned as an ‘enemy alien’ and despite having been classified only a few months earlier as an ‘alien class C’ – a person who presented the lowest risk to England and the allies – he was subsequently deported as part of a program that transported internees to Australia and Canada.   Conditions on the Dunera were poor. Drastically overcrowded, it lacked sufficient bedding, shower and toilet facilities for its more than 2,500 passengers. Exercise above deck was restricted to less than thirty minutes a day and throughout the 57-day voyage, many suffered from seasickness and other illnesses. More shockingly, the internees also endured verbal and physical abuse from the army officers onboard, as well as having the few possessions they had been allowed to take with them damaged, discarded and stolen. Their resilience and optimism in the face of adversity was remarkable. To counteract the difficulties of their situation, the passengers organised card and chess games – one of the chess sets being fashioned out of bread dough – as well as holding language classes, musical concerts and lectures on a wide range of subjects, from literature to economics and agriculture.1   The diversity of these ship-board activities – which continued and expanded once the men were interned in camps in regional New South Wales and Victoria – reflected the knowledge and expertise of the internees, many of whom were highly-trained professionals, intellectuals and skilled artists and artisans. Alongside the architects, doctors, engineers, chemists, teachers and business executives on board the Dunera, were 27 artists, 9 jewellers, 30 leather workers, 12 photographers, as well as a weaver, a potter and a maker of musical instruments.2   Hirschfeld-Mack was an artist and a teacher, and his arrival in Australia established a direct link with the Weimar Bauhaus, where he had studied from 1919 until 1925. Founded by architect, Walter Gropius, in 1919, the Bauhaus was a highly influential school whose manifesto proposed a radical challenge: ‘Let us create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist. Together let us conceive and create the new building of the future, which can embrace architecture and sculpture and painting in one unity’.3 Hirschfeld-Mack enrolled in October 1919 and began his apprenticeship in the graphic printing workshop which was run by Paul Klee. Learning various printmaking techniques, he also mastered the use of the printing press, undertaking commercial jobs for external clients, as well as limited edition fine art printing. The Neue europäische Graphik series, which featured prints by artists including Vassily Kandinsky, Kurt Schwitters and Max Beckmann, was produced at the Bauhaus and with fellow student, Josef Albers, Hirschfeld-Mack is said to have designed, as well as printed, some of the portfolio covers.4  From 1920, Hirschfeld-Mack experimented with the technique of monotype, which, as the name suggests, produces a single, unique printed impression, as opposed to an edition of identical multiples. Monotypes are traditionally made by applying paint or ink to a printing plate (usually metal or glass) and then transferring the design – which appears as a mirror image of the design on the plate – to paper. Hirschfeld-Mack used a different technique, the ‘Durchdrückzeichnung’ or ‘press through drawing’, whereby the paper is laid down onto an inked surface and the image is created by drawing on the back of the sheet, the pressure of the pencil transferring ink from the plate to the paper. While Klee is known to have used a similar technique, in a letter written many years later, Hirschfeld-Mack stated that he introduced the technique to the Bauhaus, noting that ‘…Paul Klee asked me if he could use [it] for his works.’5 This influence continued during his internment in Australia and it is likely that fellow Dunera-boys, Erwin Fabian and Bruno Simon – both of whom recorded the experience of internment in powerful, sometimes harrowing monotypes – learnt the distinctive printing technique from him.6   Produced between 1947 and the early 1960s, this group of monotypes displays the rich creative possibilities of the medium in Hirschfeld-Mack’s hands. Positive and negative linear designs are combined with areas of tone, which was achieved by applying pressure to the back of the sheet, and often highlights the texture of the papers he used. Other tools, such as a comb which created the distinctive parallel wavy lines seen in Composition, c.1962, were used to create a variety of marks and effects. Colour, generally added later, is a key element of these works, reminding us of Hirschfeld-Mack’s lifelong interest in colour and its theory, from teaching the colour seminar at the Bauhaus in 1922, to his renowned experiments with colour and music.7 According to his second wife, Olive, Hirschfeld Mack wanted to create a feeling of transparency in these works and would apply the colour slowly, revisiting the work over an extended period, each time carefully considering the effect of adding more colour.8 An important early example, Off to the Stars, 1947, which combines printing in brown ink with delicate washes of blue and pink watercolour, exemplifies his approach. Inscribed by the artist, its title too, is characteristic of the optimistic and sometimes other-worldly themes he often addressed in his art.   Hirschfeld-Mack painted Red, Grey and Orange Composition, c.1935 in Berlin. Its bold, fragmented composition exemplifies Bauhaus abstraction, but with its striking elements of line, layering and rich textural qualities, it has a distinctive Hirschfeld-Mack inflection. The focus on pattern – parallel lines, cross-hatching and fields of dots and dashes – which is primarily achieved by drawing through areas of creamy-coloured paint (probably with the end of a paintbrush) to reveal the layer below, also creates an interesting link to the techniques adopted in his monotypes. Studio photographs from the mid-1930s show that alongside abstract works such as this, Hirschfeld-Mack was also painting figurative images during these years, and given the increasing restrictions being placed on all aspects of contemporary life by the Nazis, they represented a far safer option. Abstract art was branded ‘degenerate’ and as Hirschfeld-Mack explained, ‘Artists who experimented and followed the new abstract or near abstract trends of our time, were put on a black list, and were not permitted to draw or paint any longer. These artists had to sign a paper, that they would cease painting altogether and they were controlled by the Gestapo in ruthless house searches. If they continued painting, they were arrested and imprisoned in concentration camps.’9 The historical context of this painting imbues it with particular significance. As a strong expression of abstraction made in a place and at a time when this was forbidden, it exemplifies the subversive power of art (and artists) and the critical role of creativity. As a reflection of Hirschfeld-Mack’s Bauhaus training and the artistic and intellectual milieu of which he was a part, it creates a tangible link between avant-garde European modernism and the history of twentieth century Australian art.  1. The details of Hirschfeld-Mack’s life and journey to Australia in this essay are drawn from Schwarzbauer, R. with Bell, C., Ludwig Hirschfeld-Mack: More Than a Bauhaus Artist, History Smiths, Melbourne, 2021. 2. See Keaney, M., ‘Images of Displacement: Art from the Internment Camps’ in Butler, R., (ed.) The Europeans: Emigré Artists in Australia 1930-1960, National Gallery of Australia, Canberra, 1997, p. 101 3. Cited in Schwarzbauer, op. cit., pp. 36 – 37  4. Ibid., p. 39 5. Ibid., p. 47 6. See Keaney, op. cit., pp. 91 – 92 and Butler, R., Printed: Images by Australian Artists 1885 – 1955, National Gallery of Australia, Canberra, 2007, p. 222 7. See McNamara, A., ‘The Bauhaus in Australia: Interdisciplinary Confluences in Modernist Practices’ in Stephen, A., Goad, P., & McNamara, A., (eds.), Modern Times: The Untold Story of Modernism in Australia, The Miegunyah Press, Carlton, 2008, pp. 12 – 13 8. Hazel de Berg, interviews with Olive Hirschfeld, 8 December 1965, National Library of Australia  KIRSTY GRANT

You-Beaut Countryview full entry

Reference: You-Beaut Country : Australian landscape painting 1837 – 1964
Organised by the National Gallery of Victoria and the Museum of Modern Art and Design of Australia; sponsored by the National Gallery Society of Victoria. Includes essay, catalogue of 65 works from private and public collections, illustrations after Louis Buvelot and John Olsen (from which the exhibition draws its name), biographies.
The exhibition includes classic works by Nicholas Chevalier, Penleigh Boyd, John Glover, Tom Roberts, Frederick McCubbin, Charles Conder etc. and modernist and contemporary works by Sam Ate, Ray Crooke, William Dobell, Jacqueline Hick, Robert Hughes, Lina Bryans, Robert Juniper, John Perceval, Clifton Pugh, Fred Williams, Albert Tucker etc.
Publishing details: Melbourne : National Gallery of Victoria, 1964. Quarto, illustrated wrappers after Charles Conder, pp. [8],
Ref: 1000

Rainbird J Lview full entry

Reference: AN ILLUSTRATED KEY TO THE SKULLS OF THE MAMMALS IN TASMANIA. R. H. Green; J. L. Rainbird.
Illustrations by J. L. Rainbird.

Publishing details: Launceston: Queen Victoria Museum and Art Gallery, 1983.
First Edition.
24.5cm x 18cm. 100 pages, black and white illustrations. Illustrated saddle- stapled wrappers.
Ref: 1000

Burke Francesview full entry

Reference: FRANCIS BURKE FABRICS.
"This exhibition is a project of the Textile Resource Collection, Department of Fashion & Textile Design, RMIT." (from page 1)
Publishing details: [Melbourne]: [Textile Resource Collection, Department of Fashion & Textile Design, RMIT], [1996]. 12 pages, colour illustrations. Illustrated saddle-stapled wrappers.
Ref: 1000

PRESENTING AUSTRALIAN ART 1938-1941: COUNTER CLAIMSview full entry

Reference: PRESENTING AUSTRALIAN ART 1938-1941: COUNTER CLAIMS, Christine Dixon; Dinah Dysart. Catalogue of an exhibition at S. H. Ervin Gallery 17 May-6 July 1986. A satellite exhibition for the Sixth Biennale of Sydney.
Publishing details: Sydney: S. H. Ervin Gallery, 1986.
56 pages, black and white illustrations. Lettered saddle- stapled wrappers.

Ref: 33

PEOPLE I DON'T KNOW IN PHOTOGRAPHS I TOOK OF SOMETHING ELSEview full entry

Reference: PEOPLE I DON'T KNOW IN PHOTOGRAPHS I TOOK OF SOMETHING ELSE, by Edwina Richards; Merilyn Fairskye

Publishing details: Sydney: Peninsula Paper, 2002.92 pages, colour illustrations. Pictorial wrappers.
Photobook. Limited edition of 1000 copies.
Ref: 1000

Richards Edwina view full entry

Reference: see PEOPLE I DON'T KNOW IN PHOTOGRAPHS I TOOK OF SOMETHING ELSE, by Edwina Richards; Merilyn Fairskye

Publishing details: Sydney: Peninsula Paper, 2002.92 pages, colour illustrations. Pictorial wrappers.
Photobook. Limited edition of 1000 copies.

Fairskye Merilyn
view full entry

Reference: see PEOPLE I DON'T KNOW IN PHOTOGRAPHS I TOOK OF SOMETHING ELSE, by Edwina Richards; Merilyn Fairskye

Publishing details: Sydney: Peninsula Paper, 2002.92 pages, colour illustrations. Pictorial wrappers.
Photobook. Limited edition of 1000 copies.

Pate Klytieview full entry

Reference: KLYTIE PATE CERAMICS, Geoffrey Edwards; Klytie Pate
Catalogue of an exhibition 25 May-3 July 1983.
Publishing details: [Melbourne]: National Gallery of Victoria, 1983.. 20 pages, illlustrations, some colour. Pictorial saddle-stapled wrappers.
Ref: 1000

BE DO BE DO BE DOview full entry

Reference: BE DO BE DO BE DO
Judy Millar; Rosemary Hawker
Catalogue ofn exhibition 8 June -27 July 2013.
Publishing details: Brisbane: Institute of Modern Art, 2013. [16] pages, colour illustrations. Pictorial saddle-stapled wrappers.
Ref: 1000

Millar Judy view full entry

Reference: BE DO BE DO BE DO
Judy Millar; Rosemary Hawker
Catalogue ofn exhibition 8 June -27 July 2013.
Publishing details: Brisbane: Institute of Modern Art, 2013. [16] pages, colour illustrations. Pictorial saddle-stapled wrappers.

Hawker Rosemary view full entry

Reference: BE DO BE DO BE DO
Judy Millar; Rosemary Hawker
Catalogue ofn exhibition 8 June -27 July 2013.
Publishing details: Brisbane: Institute of Modern Art, 2013. [16] pages, colour illustrations. Pictorial saddle-stapled wrappers.

Clayton Samuel (1783-1853)
view full entry

Reference: see Australiana Virtual Show and Tell no. 18 JULY/AUGUST 2022, Colonial Silhouette of Daniel Egan (1803–1870), Paper backing 7 cm x 6 cm, cut black card silhouette highlighted with gold wax & pen/pencil? Possible Artists? Samuel Clayton (1783-1853) or William Fernyhough (1809-1849).
Egan had strong masonic connections and was in the same lodge 820 E C (English Constitution) with the engraver Samuel Clayton. He was very much the social climber and just the sort of person to commission a silhouette of himself.
Was this the ‘likeness in profile, now in the London
style’ that Clayton advertised using a much improved and systematic machine? He advertised that the likeness was particularly portable and could be conveyed to relatives or friends anywhere in the world (SG 4 Nov 1820 p 2).
Fernyhough was well known for his portrait silhouettes of Aborigines and Sydney personalities (often with a touch of humour).
Egan was born in Windsor NSW, he worked as a foreman and master boat builder at the government dockyard in Sydney until it closed in 1835. He subsequently became a shipping agent, acquired several vessels and opened a wine and spirit shop in George St.
His second marriage in 1843, to widow Mary Ann (Marian) Cahuac, took place at St Mary's
Cathedral, and St James Anglican Church Sydney.
Marian, with her children Henry and Gertrude from her former marriage, perished in the wreck of the Dunbar at South Head on 20 August 1857. By 1844 he was styling himself as a gentleman, of 103 Hunter Street, later moving to Watsons Bay.
He served on the City Council and was Mayor in 1853.
Daniel Egan was elected member of the Legislative Council for the pastoral district of Maneroo (Monaro) in 1854–56 and represented the same seat in the Legislative Assembly in 1856–59 and Eden in 1859–69. He again represented Monaro in 1870. He was Postmaster-General from 27 October 1868 until his death.
He died on 16 October 1870, aged 67, at Watsons Bay. He was buried in the Catholic cemetery at Petersham, causing consternation among zealots who objected to his alleged liaison with a woman. The body was secretly removed but re-interred after a parliamentary enquiry
in 1871.

Fernyhough William (1809-1849).view full entry

Reference: see Australiana Virtual Show and Tell no. 18 JULY/AUGUST 2022, Colonial Silhouette of Daniel Egan (1803–1870), Paper backing 7 cm x 6 cm, cut black card silhouette highlighted with gold wax & pen/pencil? Possible Artists? Samuel Clayton (1783-1853) or William Fernyhough (1809-1849).
Egan had strong masonic connections and was in the same lodge 820 E C (English Constitution) with the engraver Samuel Clayton. He was very much the social climber and just the sort of person to commission a silhouette of himself.
Was this the ‘likeness in profile, now in the London
style’ that Clayton advertised using a much improved and systematic machine? He advertised that the likeness was particularly portable and could be conveyed to relatives or friends anywhere in the world (SG 4 Nov 1820 p 2).
Fernyhough was well known for his portrait silhouettes of Aborigines and Sydney personalities (often with a touch of humour).
Egan was born in Windsor NSW, he worked as a foreman and master boat builder at the government dockyard in Sydney until it closed in 1835. He subsequently became a shipping agent, acquired several vessels and opened a wine and spirit shop in George St.
His second marriage in 1843, to widow Mary Ann (Marian) Cahuac, took place at St Mary's
Cathedral, and St James Anglican Church Sydney.
Marian, with her children Henry and Gertrude from her former marriage, perished in the wreck of the Dunbar at South Head on 20 August 1857. By 1844 he was styling himself as a gentleman, of 103 Hunter Street, later moving to Watsons Bay.
He served on the City Council and was Mayor in 1853.
Daniel Egan was elected member of the Legislative Council for the pastoral district of Maneroo (Monaro) in 1854–56 and represented the same seat in the Legislative Assembly in 1856–59 and Eden in 1859–69. He again represented Monaro in 1870. He was Postmaster-General from 27 October 1868 until his death.
He died on 16 October 1870, aged 67, at Watsons Bay. He was buried in the Catholic cemetery at Petersham, causing consternation among zealots who objected to his alleged liaison with a woman. The body was secretly removed but re-interred after a parliamentary enquiry
in 1871.

Randall Richard John biographyview full entry

Reference: see Brandywine Valley Auctions, Exton, PA, United States, 4.9.2022, lot 111:
Richard John Randall Australian Artist Queensland watercolor, signed and dated 1905, 7 x 11 3/4" image, 12 1/4 x 17" Matt
ichard John Randall (1869—1906) was an Australian artist based in Brisbane, Queensland. His art studio, the Richard Randall Art Studio, was listed on the Queensland Heritage Register. Richard John Randall was born in Brisbane in 1869, the first son of George and Naomi Randall, former domestic servants who had recently emigrated from England to Brisbane. Growing up in South Brisbane, where his parents owned an increasingly successful retail business, Richard and his younger brother George (born in 1871) were both educated at the Brisbane Normal School Richard went on to attend art classes at the Brisbane Technical College, which had been formed in 1882, operating under the control of the Brisbane School of Arts. While studying there he won awards for drawing and modelling Watercolours and drawings by Richard were also included in the fine arts section of Queensland National Association exhibitions in the late 1880s. Queensland's art scene was still in its infancy in the late 19th century. The first art society was formed in 1887, the primary aims of which were to promote the fine arts and to establish annual exhibitions in Brisbane at a time when artists had almost no venues for exhibiting and selling their works. The Society was also seen as an important step towards forming a gallery for Queensland, such as had already been established in Sydney and Melbourne. The first exhibition held by the Society took place in the Masonic Hall in Alice Street, Brisbane, on 14 August 1888. In 1881 Richard's father George Randall was appointed Queensland Emigration Agent to Britain, a position that required him to take extended tours to England. There, he would travel around the various counties encouraging emigration to Queensland, engaging particularly with agricultural labourers. Between 1881 and 1902, George Randall travelled to England 4 times in the position of Emigration Agent, his longest trip lasting 5 years. In the meantime, the profits from the Randall family's South Brisbane business allowed the family to invest extensively in real estate and establish a large farming property at Birkdale, known as Somersby Grange. In April 1891, at the age of 22, Richard departed Brisbane with his mother and brother to accompany George Randall on his third tour to England. While there, Richard furthered his art studies and applied to enter a well known art school run by Professor Hubert von Herkomer at Bushey, Hertfordshire. In December 1892 he was accepted into the Herkomer School and spent the next few years there, eventually earning a free scholarship and life membership. In 1895 Richard Randall attained his highest commendation, when one of his watercolour paintings, entitled "The Old Mill", was accepted and exhibited by the Royal Academy of Arts. After leaving the Herkomer School, Richard Randall spent 18 months working in London, occupying a studio in Queensborough Terrace, Bayswater. During his time there he painted portraits of many eminent gentlemen, as well as making excursions to picturesque spots around England and to Paris. In 1899 Richard Randall returned to Queensland, the purpose of which (according to some sources) was "to carry out his father's patriotic wish, that now he had received some training and experience he should go back and use this and his talent to help lift art matters in his native city and country". Richard continued to pursue his career as an artist in Brisbane, becoming involved in exhibitions and competitions. In November 1899 he exhibited 50 of his water-colours for sale in Messrs Isles, Love and Co.'s auction mart, in relation to which he was described as a "daring colourist". The influence of Randall's style upon other artists was soon observed in local exhibitions. Richard Randall set about establishing his own residence and studio in Brisbane soon after his return. The site chosen was a block of land owned by his father at 72 Cordelia Street in South Brisbane, opposite St Andrew's Church of England. Purchased in May 1884, a residence (known as 'Hatfield') was built on the site c. 1896 and early photographs show this residence and the later studio standing close together on the site. Some sources state that the studio was built for Richard Randall by his father, however as George Randall was in England at the time of its construction in 1900, the level of his involvement in the project (beyond providing the land) is unclear. A 1914 account of Richard Randall's life states that Richard personally superintended the erection of the studio. As a purpose-built studio, rather than an adaptation of an existing building, it is likely that the building's design was based upon the type of artists' studios constructed in parts of London in the late 19th and early 20th century. Favouring the Queen Anne Revival style, these artists' studios were either part of or attached to a single house, or constructed as groups of units. In studio houses, the domestic function of the house was separate from and secondary to its studio use, with the studio itself usually located on the upper floor. Common features of artists' studios included a substantially sized painting room (that served as both a working and entertaining space), and large windows and skylights for adequate natural light, controlled by blinds. In particular, a window joined to an inclined skylight was very popular as it provided both top and side light. Careful consideration was also given to circulation, with an entrance located close to the painting room so that models and visitors would not have to pass through other areas of the house. Purpose-built artists' studios, whether grand or modest, were a reflection of the improved social and professional status of artists working in London in the late Victorian period. While modest in size and incorporating local materials and construction techniques, the Richard Randall Art Studio's design reflects many of the aspects of a typical London artist's studio, which Richard Randall would have been familiar with, having lived and worked there for some time. Its style, described in a Brisbane newspaper article as resembling a "Swiss chalet", incorporates characteristics of Australian "Queen Anne" style, such as an asymmetrical facade, steeply pitched Marseilles tile-clad roof, terracotta roof apex ornaments, a street-facing gable, and projecting bay window with multi-paned top lights Built on steeply sloping ground, the studio occupied the upper floor at street level and the residence below was accessed by an external staircase at the rear. The residential level consisted of at least four rooms connected by a side verandah, however its exact layout is unknown. The studio itself was a single volume lit by a large bay window and skylight in the centre of the main elevation, with blinds to control light levels. A part-height timber partition wall created an entrance passageway, with a curtain hung across it to shield views into the studio from the front door. The high walls (painted a "cool green") had few windows, providing ample hanging space for pictures, and the room contained a "model's throne". A contemporary description called it "a fine commodious studio (said to be one of the best-equipped private studios in Australia)". Once settled into his new studio residence, Richard Randall began advertising for pupils in the Brisbane Courier, offering drawing and painting lessons in a variety of mediums, including oils, water-colours and pastels. On Wednesday afternoons he was "at home" to visitors, providing an opportunity for socialising and displaying his latest works. Richard worked, exhibited and taught at the studio, establishing a reputation as a popular and successful Brisbane artist and teacher, and providing a focus for a coterie of local artists influenced by the Randall style. When he was not teaching, Richard travelled around south-east Queensland in search of new subjects and scenes to paint. He also took an active role in many artistic clubs and societies, including the Brisbane Sketching Club and the Queensland Art Society, of which he was vice-president from December 1903. A breakaway art society, calling itself the New Society of Artists, formed in 1904, as a result of dissatisfaction with some policies of the more elite Queensland Art Society. In August 1906, the engagement of Richard Randall to Miss Minna Wirth, daughter of one of the founders of the Queensland Art Society, artist Lewis Wirth, was announced in a local paper. Some time after his return to Australia, Richard received overtures from various London art galleries, and subsequently collections of his works were sent back to England and displayed for purchase. His watercolours and paintings of Australian landscapes and scenery were particularly admired, as they conveyed "a more pleasing and favourable impression of the Australian bush and scenery than had hitherto been entertained". Tragedy struck in October 1906 when Richard Randall died unexpectedly, of what is believed to have been a brain tumour, at Somersby Grange, aged 37. The funeral held on 16 October was well attended by members of Brisbane's artistic circles, including representatives of the Queensland Art Society and the New Society of Artists, who, in a rare moment of unity between the two groups, acted as pall bearers. Richard's death came as a great shock to his father, who spent much of his time after 1906 promoting the life and works of his son. In 1907, he compiled and published an elaborate memorial brochure, featuring photographs of Richard, his studio and some of his paintings. The studio and its contents were kept intact until c. 1913, and opened for viewing by the public and eminent guests, such as Govennor and Lady Chelmsford, who visited in December 1906 and purchased several watercolour sketches. In 1909, the South Brisbane City Council was persuaded to accept 600 of Richard's works in perpetual trust.A quarter-acre of vacant land adjoining the studio was offered by George Randall as a location for a gallery to house the collection.However, it was eventually housed on the upper floor of the South Brisbane Library, which had been converted from a library space into the Randall Art Gallery. The Randall Collection contained everything from early and incomplete works and sketches to his most prized paintings. After 1922, the collection was added to by George Randall upon his return from a visit to England, where he had purchased a number of his son's paintings from a London art gallery. In 1925, sculptor Charles Lowther was commissioned to make a memorial bust of Randall. The bust was unveiled on 19 June 1925 by the Queensland Governor Matthew Nathan at Randall's studio. When the City Council of Greater Brisbane was formed in 1925, it took over the assets of the South Brisbane Council, including the Randall Collection, which was moved to Brisbane City Hall. Some paintings were hung in reception rooms, while the majority were displayed in a large, well-lit room on the fifth floor. The collection's continuous occupation of the foremost gallery space in Brisbane caused friction between the council, representatives of the Randall family and the Royal Queensland Art Society, who requested to use the gallery for other purposes.[38] In 1943, after being closed for a year due to lack of staff, the collection was removed from the gallery and stored in the City Hall basement.[39] After the end of World War II, the collection was not reinstated to the gallery and the majority of works remained in poor storage conditions in the basement, or were loaned out or taken without any record being kept of where they went. A 1953 newspaper article claimed that the paintings were being eaten by rats and falling into disrepair, but it was not until the mid-1980s that a concerted effort was made to track down and restore the collection, which had dwindled to 154 pieces. In 2013, the Richard Randall collection remains part of Museum of Brisbane art collection (owned by the Brisbane City Council). Members of the Randall family retained ownership of the Cordelia Street property until 1981. From late 1913 the studio was rented out as a residence,[42] and at some point the upper floor was partitioned. In a 1926 sewerage plan the studio is named "Brindisi" and is fenced off from two other residences on the property. In 1987, Richard Randall's Studio was listed by the National Trust of Queensland, who described it as "a unique example of a purpose-built artist's studio and reception rooms".In 1988, the building was threatened with demolition due to redevelopment of the site; however it was purchased in time by Brisbane City Council in recognition of its historical significance.Only the upper floor (the former studio) was saved and relocated approximately 300 metres (980 ft) along Cordelia Street to Musgrave Park, while the remainder of the building was demolished. In 1989, the studio was stumped and re-orientated to a north-west aspect to face an avenue through the park. Internal partitions and a lowered ceiling were removed and the building was repaired and renovated, with facilities such as a small kitchenette installed in a rear corner. In front of the studio a timber picket fence, similar to one which had existed at the original location, was constructed.The studio was officially opened by the Lord Mayor Sallyanne Atkinson, in December 1990 as the Richard Randall Studio, part of the Jagera Arts Centre in Musgrave Park. The Richard Randall Artist's Studio Award, established by the council the same year, provided rent-free use of the building to selected local artists for set periods as a studio and gallery. Artists were chosen by a panel of professional arts community representatives, and were required to produce a quota of artwork for public use during their residency.By the mid-2000s, the studio was in need of repairs and had become vulnerable to damage by vandals. In 2007, it was relocated for the second time by Brisbane City Council to its present site in the Mt Coot-tha Botanic Gardens, adjacent to the main visitor's car park. Officially opened on 6 October 2008[46] by the Lady Mayoress Mrs Lisa Newman, in the presence of descendants of the Randall family, the renovated studio is used as a function and exhibition venue available to the public and community groups for hire.

Dwyer Ella 1887-1979view full entry

Reference: see DIEGEM auction, BELGIUM - 1831 - 11.9.22, lot 56, Ella DWYER (1887-1979)
1 ex-libris (bookplate) for Clare Montgomery (Australia)

Perrottet George David 1890-1971view full entry

Reference: see DIEGEM auction, BELGIUM - 1831 - 11.9.22, lot 129: G.D. PERROTTET (1890-1971) aka George David PERROTTET
2 ex-libris (bookplates) for H-B Muir and Camden Morrisby (Australia) + 2 ex-libris by other artists. The legend "And still there moved the moon so pale, A crescent ship without a sail!" is taken from the poem "A Ship, An Isle, A Sickle Moon" by James Elroy FLECKER (1884 - 1915).

Ballard Kathryn 1929-2013view full entry

Reference: see Parker Fine Art Auctions, UK, 8.9.22, lot 252: Kathryn Ballard (1929-2013) Australian. "Today's The Day Metung", Watercolour, Signed and Dated 1978 in pencil, and Inscribed verso, 12.25" x 16.25" (31.1 x 41.2cm)

Cohen Isaacview full entry

Reference: see Heritage Auctions, Dallas, TX, United States, 9.9.22. lot 27200: Isaac Cohen (Australian, 1884-1951) Portrait of an elegant lady and her dog, 1915 Oil on canvas 78 x 58-1/2 inches (198.1 x 148.6 cm) Signed and dated lower left: 19|COHEN|15 Property from the Cary M. Maguire Estate, Dallas, Texas PROVENANCE: Arenski Fine Art, Ltd., London; Acquired by the present owner from the above, 2000. Property from the Cary M. Maguire Estate, Dallas, Texas

Orry-Kelly George (Australian/American, 1897-1964) view full entry

Reference: see Heritage AuctionsDallas, TX, United States, 9.9.22. lot 27188: George Orry-Kelly (Australian/American, 1897-1964) Mother and daughter in Paris Oil on Masonite 24 x 20 inches (61.0 x 50.8 cm) Signed lower right: Orry-Kelly

Ames Ethel May Lavenceview full entry

Reference: see Scammells auction, Adelaide, 29.8.22, lot 26, The Adamson Family, River Torrens, Walkerville 1838, Oil on Board, Signed Lower Left, 16.5 x 26cm

Streeton Arthurview full entry

Reference: Folded sheet. Mr Arthur Streeton's Exhibitions. No date but 1920. Contains a paragraph History of "Golden Summer", another paragraph concerning the new Government tax on Australian art work retuning to Australia and the rest is devoted to Lieutenant Arthur Streeton's work as a war artist. Trove which notes just the one copy in the State Library of Queensland, suggests that this has been compiled by Arthur Streeton
Publishing details: 1920
Ref: 1000

Dobre Peteview full entry

Reference: Lake Eyre in Outback Australia, by Pete Dobre.
Publishing details: OzScapes (2001). Hardcover with dust wrapper
Ref: 1000

Crisp Photo Process.view full entry

Reference: Beautiful Sydney 1895-96 Including Newcastle Coalopolis and Fertile Maitland. Illustrated by The Crisp Photo Process. With many beautiful B&W images.
Publishing details: Geo. Robertson & Co. Publishers.
Ref: 1000

Taylor Peterview full entry

Reference: Peter Taylor : Australian sculptor, by Peter Armstrong and Pam Taylor.

Publishing details: Hobart, Tasmania : Forty South Publishing, 2022, 127 pages : illustrations (chiefly colour), portraits
Ref: 1000

Maurovic Richardview full entry

Reference: THE MEAT GAME: A HISTORY OF THE GEPPS CROSS ABATTOIRS AND LIVESTOCK MARKETS, by Richard Maurovic

Publishing details: Adelaide: Wakefield Press, 2007.
First Edition.
27cm x 22cm. xiv, 337 pages, illustrations, some colour, maps. Black cloth, gilt lettering, pictorial jacket.
Ref: 1000

decoration view full entry

Reference: see Interior decoration : a guide to furnishing the Australian home, by Margaret Lord. Illustrated by Alistair Morrison and Elaine Haxton

Publishing details: Ure Smith, 1944
110 p. : ill. (some col.), plans

Morrison Alistair view full entry

Reference: see Interior decoration : a guide to furnishing the Australian home, by Margaret Lord. Illustrated by Alistair Morrison and Elaine Haxton

Publishing details: Ure Smith, 1944
110 p. : ill. (some col.), plans

Haxton Elaine
view full entry

Reference: see Interior decoration : a guide to furnishing the Australian home, by Margaret Lord. Illustrated by Alistair Morrison and Elaine Haxton

Publishing details: Ure Smith, 1944
110 p. : ill. (some col.), plans

Dean Tamaraview full entry

Reference: Tamara Dean. ‘Tamara Dean’s photography deftly explores the undercurrents of the human condition. Dean’s symbolically charged compositions of contemplative stillness and explosive action see humans intimately immersed in their surroundings: submerged in water, enmeshed in undergrowth, leaping from rockfaces.
Exploratory and ethereal, laden with risk and chance and adventure, her images reveal the complex interrelationships inherent in contemporary rites of passage and our connection to nature.
Her first published monograph, this book is both a retrospective of Dean’s work to date and a perfect introduction for those unfamiliar with her practice. Organised chronologically by series, each introduced with a brief text by the artist, it will give readers an insight into the evolution of her work and the themes and motifs that have featured throughout her oeuvre.’
Publishing details: Thames & Hudson, 2022, 176pp, hc
Ref: 1000

Just Pview full entry

Reference: Australia; or Notes Taken During a Residence in the Colonies from the Gold Discovery in 1851 till 1857, by P. Just.
[From Hordern House, 2022: The only edition of an outstanding account of the social and commercial growth of Victoria through the 1850s and a significant work in the small but valuable corpus of description and promotion written by colonial merchants. Just, a Melbourne merchant and Scottish emigration agent, wrote this wide-ranging work on a voyage home to Scotland. He includes a comprehen- sive review of events from 1851 to 1857, concentrating on aspects of trade and commerce, as well as detailed coverage of a wide range of topics, chiefly in the form of an emigrant’s guide, but with a good deal on the Murray River, land settlements, the gold rush, the Chinese in Victoria, and much else.
Just had artistic interests - he published a pamphlet in 1856 promoting the cause of colonial
art - and the delightful frontispiece ‘Falls of the Yarra Yarra Melbourne’, showing Dight’s Mill, was lithographed in colour after one of his own sketches.]

Publishing details: Dundee, Durham & Thomson, 1859.
Ref: 1000

Marcet Edouardview full entry

Reference: Australie. Un voyage à travers le Bush.
Large octavo, illustrated with 20 original albumen prints of drawings (ten full-page, mounted on inserted leaves of heavy paper as plates, and ten smaller, mounted on the text leaves in spaces left for that purpose); a fine copy in contemporary quarter red morocco.
[From Hordern House catalogue August 2022: This fine illustrated account of aboriginal and bush life in Queensland is a vividly dramatised account of life in the Queensland bush by a Swiss settler and writer. The unusual illustrations are actually a series of mounted photographs of drawings, an early example of the genre: only 200 copies are known to have been printed. A Swedish translation followed in 1870.
Marcet travelled through Australia in the early 1860s as a representative of the Geographical Society of Geneva, and is particularly known for his assiduous collection of photographs of settlers and First Nations people. In 1861 he published his Notice sur la province de Queensland, which included his observations on the natural history, the settlement, and the local tribes of the area. This work extends upon this earlier research, adding to his descriptions of Queensland’s natural history, including the platypus, which is shown in two illustrations.
The book’s real importance lies in Marcet’s unflinching portrayal of the tensions between settlers and aborigines. The arresting illustrations include several images of open conflict, as well as one dreadful representation of Aboriginal men being hunted over a cliff while the women and children of the tribe look on.]
Publishing details: Geneva, Imprimerie de Jules-Guillaume Fick, 1868.
Ref: 1000

Vickers Annaview full entry

Reference: Voyage en Australie et en Nouvelle-Zélande. By Anna Vickers.
[From Hordern House catralogue, August 2022: Vickers sailed on board the Orient from England to Australia, visiting Sydney, Melbourne, Adelaide and Tasmania and on to New Zealand. Of particular interest are the large number of botanical plates and photographic illustrations.
"Anna Vickers was born on 28 June 1852 in Bordeaux, France, though it is likely that her father was British. In 1879–80, she visited Australia and New Zealand with her family, travelling widely and becoming interested in the Maori language. In 1883 she published a monograph about these travels, Voyage en Australie et en Nouvelle-Zélande. Topics she touched on range from word derivations in the Maori language to the ferns and algae of south Australia. She illustrated the book with sketches from her own photographs" (Wikipedia).]
Publishing details: Paris, Libraire Ch. Delagrave, 1883.
Ref: 1000

Evans Joyceview full entry

Reference: see Theodore Bruce auctions 12 Sept., 2022 and 13 July, 2023 (numerous works): Joyce Evans was a pioneer and supporter of photography in Australia and one of the first women to be director of an independent, commercial photography gallery, one of outstanding merit and influence. She began the Church Street Photographic Centre in Melbourne in 1976, introducing the work of many young photographers and exhibiting international and Australian photographers including Frank Hurley, Bill Henson, Henri Cartier-Bresson, David Moore and Max Dupain.  She was a working photographer and storyteller, with landscape one of her prominent themes. Her works are included in major collections including the National Library of Australia and internationally in Sweden and France. This auction includes both the photographs of Joyce Evans, and artworks by fellow artists in her private collection.

Nirin : 22nd Biennale of Sydneyview full entry

Reference: Nirin : 22nd Biennale of Sydney, 14 March-8 June 2020. Brook Andrew, 1970-, (artistic director.) [To be indexed]

Publishing details: Sydney : Biennale of Sydney Limited, 2020, soft cover, 334 pages : illustrations (some colour)

Biennale of Sydney 22ndview full entry

Reference: see Nirin : 22nd Biennale of Sydney, 14 March-8 June 2020. Brook Andrew, 1970-, (artistic director.)

Publishing details: Sydney : Biennale of Sydney Limited, 2020, soft cover, 334 pages : illustrations (some colour)

Andrew Brookview full entry

Reference: see Nirin : 22nd Biennale of Sydney, 14 March-8 June 2020. Brook Andrew, 1970-, (artistic director.)

Publishing details: Sydney : Biennale of Sydney Limited, 2020, soft cover, 334 pages : illustrations (some colour)

Alder Alison view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Morrow Christine view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Allan Micky view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Robson Megan view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Campbell Jon view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

footscray halal meats 100%view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Kelly Ned view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

McInnes Vikki view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Hubbard Lou view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

do it your self view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Mu Joel view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Hunt Matthew view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Lewis Clare view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Jenyns Bob view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Barkley Glenn view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Marrinon Linda view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

the comedy of life view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Kent Rachel view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Moore Archie view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

depth of fieldview full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Mundine Djon view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Moore Tom view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Edwards Geoffrey view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Edwards Geoffrey view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Mununggurr Marrnyula view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Watson Ken view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Ormella Raquel view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

double act view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Kent Rachel view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Reamillo Alwin view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Seeto Aaron view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Sabsabi Khaled view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

McNeill David view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Taylor Neil view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Barkley Glenn view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Thaiday Ken Snr view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Robinson Brian view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Waller Ruth view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Hesketh Isabel view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Warburton Toni view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

go tell it on the mountain view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

von Sturmer John view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Whisson Ken view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

this thing the brush does view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

O'Brien Gregory view full entry

Reference: see Making it new : focus on contemporary Australian art. Curator: Glenn Barkley.
Includes bibliographical references.
Published in conjunction with an exhibition of the same name at the Museum of Contemporary Art, 10 September - 11 November 2009. Essays. Making it new : focus on contemporary Australian art / Glenn Barkley ; Group and survey exhibitions in Australian art / Christopher Dean. Artists profiles included.
Publishing details: Sydney : Museum of Contemporary Art, 2009, 209 p. : col. ill.

Etaplesview full entry

Reference: see Australian Painters In Etaples, by Jean-Claude Lesage. Published in French, however, an English translation by Pauline Le Borgne was printed later. 25 Australian artists are discussed, Biographical information is included. [See also Australian Painters In Etaples, a reprint in English with additional illustrations, ETT IMPRINT, Bondi Junction, NSW, 2022, pb, 85pp]
In 1900, 30 Australian artists were working in Etaples, a French fishing village west of Paris. Charles Conder, Rupert Bunny, Isobel Rae and John Peter Russell were among these who lived and worked in France.
Publishing details: A.M.M.E., 2000, hc, dw, 133pp. English translation of text inserted in this copy.

Rapotec Stanislaus interview and illustrationsview full entry