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

Barrett Gregview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Greg Barrett (Aust., b.1943).|
Timothy Harbour,| 1998.| Silver gelatin photograph, titled, signed and dated in pencil verso, 32.5 x 27cm. Slight retouching to image upper left.| $1650| Illustrated in Barrett, |Tutu,| 1999, p17.
“One of the most soughtafter fashion photographers of the late ‘70s, [Greg Barrett’s] work appeared in top magazines...Since 1984, [Barrett] has photographed dancers from Australia’s premier dance companies, bringing to his photographs of dancers the same discipline as his subjects do to their art. Using few props and costumes, he relies very much on his relationship with each dancer to push the expressive boundaries of the human body. The results
of this artistic collaboration are photographs of extraordinary beauty, spontaneity and wit.” Ref: Daryl Hewson Collection.

“Greg Barrett became a professional photographer at the age of 33 and since then he has worked extensively in film direction, fashion photography, advertising and portraiture. His work forms part of the permanent collection of the National Library in Canberra and his photography is widely collected and is seen as a reference point for the possibilities of what the human body
can achieve.” Ref: M. Throsby (ABC website, 16.6.2014).

Bishop Mervynview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

39.| Mervyn Bishop (Aust., b.1945).| Art And Photography Cadets With Model In Studio,| 1967/ 1990.| Silver gelatin photograph, titled, dated and signed in pencil verso, 28.2 x 40.3cm. Minor creases, crinkles, chips to edges.| $4400|
Title continues “at |Sydney Morning Herald,| Broadway, Sydney, NSW.” Illustrated in Bishop, |In dreams: thirty years of photography 1960–1990,| p21. Held in AGNSW with variant title.
“Mervyn Bishop is an Australian news and documentary photographer. Joining |The Sydney Morning Herald| as a cadet about 1962, he was the first Aboriginal Australian to work on a metropolitan daily newspaper and one of the first Aboriginal Australians to become a professional photographer. In 1971, four years after completing his cadetship, he was named Australian Press Photographer of the Year. He has continued to work as a photographer and lecturer. Bishop is a
42.| Mervyn Bishop (Aust., b.1945).| Women Attend Home Management Course At Yuendumu, NT,| 1974/ 1990.| Silver gelatin photograph, titled, dated and signed in pencil verso, 36.9 x 27cm. Slight foxing, handling creases.|
$4400| Illustrated in Bishop, |In dreams: thirty years of photography
1960–1990,| p60. Held in AGNSW.
member of the Murri people.” Ref: Wiki.

Bostock Cecilview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Cecil W. Bostock (Aust., 1884–1939).| Day Breaks—Cold, Shrieking—Bloody,|
44.| 1918/1919.| Vintage silver gelatin photograph, annotated “London Salon”, dated “1919”, signed and titled in pencil on backing below image, 13 x 20.6cm. Slight silvering, laid down on original backing with foxing. Framed.|

Bostock served as a gunner during WWI, and this is his only known photograph from the war. Held in AGNSW with date “1918” and the comment “Soldier snapshots from the First World War were not uncommon...Bostock’s evocative image stands clearly apart from these, as well as from the more
formal and staged work by official war photographer Frank Hurley.”
In 1921 Bostock held an exhibition consisting of 101 photographs at the Kodak Salon in Sydney, which included this image, as noted in a review in |The Sydney Morning Herald.| “Here is shown an 18pounder at the moment of recoil, with crouching ‘tinhatted’ gun crew, a white pall of smoke drifting from the muzzle, under a stormy sky. The picture seems to personify the spirit of war, and was
accorded a flattering reception when hung in the London Salon of 1919.” Ref: |SMH,| 17.11.1921

Caire Nicholasview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

45.| Nicholas Caire (Aust., 1837–1918).| [The Great Ocean Road, Port Campbell And Peterborough, Victoria],| c1900–1905.| Ten printingout paper photographs, postcard format, each captioned with “N.J. Caire, photo” studio line in negative lower left or right, one card inscribed and dated “14.9.01” in pencil verso, 8.5 x 13.8cm (approx. each). Minor creases or indentations.|
The group $5500 Nine of the 10 captions include “Port Campbell” and read (1) Loch and Gorge; (2) Bathing Beach; (3) Island Bay near Loch and Gorge; (4) Iron Clad Rocks, Gibson’s Beach; (5) The Beacon Steps; (6) Glenample Rock, Gibson’s Beach; (7) The Twelve Apostles, Gibson’s Beach; (8) Broken Head,
Peterborough; (9) Island Archway near Loch and Gorge; and (10) Castle Rock, Gibson’s Beach. Inscription includes “Peterboro [sic] House Hotel. Dear children, we are safe after a rough ride through the forest – roads very bad. Splendid weather here since we came, not much fishing yet, either in river or bay.” Completed in 1932, the Great Ocean Road (tentatively known as the South Coast Road) was built as a memorial to Victoria’s WWI servicemen and women. Ref: Dept of Environment & Energy, Wiki.

Cotter Lizview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
55.| LizCotter(Aust.,b.1965).| EastTimor/TimorLestePort,| 1999/2017.| Silvergelatin
photograph, numbered “18”, signed, titled and dated in pencil verso, 18.9 x 28.3cm. |

“Not long after violence and devastation had torn East Timor apart, I was commissioned by UNHCR as a photographer, to follow refugees who had fled to Australia and then follow a particular family group back to their home in Dili. Over the next two and a half years I returned several times to Timor Leste as a photographer, cultural researcher and public information officer for UNHCR and others. The generosity of the participants and the time taken enabled unique insights and perspectives as well as documenting the regeneration of a wartorn country and new nation slowly burgeoning.” Ref: Liz Cotter.

and

“The aim of ‘Our City, Our Games’ was to observe and record Sydney’s transformation to an Olympic City. My proposal to document the city and its people during the brief period of intense world focus was accepted by the city of Sydney. Working with historian Michelle Arrow, I photographed people using the city in these extraordinary circumstances, fascinated by the humorous, unusual and inventive things that people did at this time.” Ref: Liz Cotter.

Dundas Kerryview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

62.| Kerry Dundas (Aust., 1931–2010).| Godfrey Miller In His Studio, Young Street, Sydney,| 1950/later printing.| Silver gelatin photograph, signed in pencil over a faint ink signature on image lower right, 25.1 x 28cm. |
$2200| “Godfrey Miller (1893–1964) arrived in Australia from his native New Zealand in 1919. Serving as a light horseman in Egypt and Gallipoli, he was badly wounded. After his convalescence he continued his studies as an architect. From 1929 to 1931 he studied at the Slade School in London and during the 1930s he travelled extensively in Europe. In 1939 he settled in Sydney. From 1948 until his death Miller was a parttime teacher at East Sydney Technical College.” His artwork often showed his “enduring interest in molecular science and
mathematics.” Ref: NPG, AGNSW.

“Kerry Dundas, son of artist Douglas Dundas, gained an interest in photography as a student at Sydney Grammar School. After leaving school he worked for various studios, including, in the 1950s, Max Dupain’s. In the 1960s Dundas worked in the UK as a photojournalist, drawn to subjects of
67.| Max Dupain (Aust., 1911–1992).|
1980s.| Silver gelatin photograph, signed in pencil lower right, 45.5 x 37.7cm. Minor developing flaws. Framed.| $5500|
Dupain was inspired to experiment with different printing tech niques, including solarisation, by American photographer Man Ray (1890–1976). In its 2004 exhibition |Max Dupain: Dupain’s work in the context of Man Ray’s influence,| the Art Gallery of NSW stated “Max Dupain, one of Australia’s great modernist photographers, placed Man Ray’s importance for photography alongside Cézanne’s for painting. Writing for |The Home| magazine in 1935, Dupain said: ‘He is alone. A pioneer of the 20th century who has crystallised a new experience in light and chemistry.’” Ref: AGNSW.
68.| Max Dupain (Aust., 1911–1992).| Effect Of Movement,| c1930s/later print
silvering. Framed.
$6600| Annotation reads “Dancer with electric torch bulbs attached to finger tips. Several flashes were made
during exposure to catch figure.” Held in AGNSW with title “Dancer dancing” and date “1940s.”
13
[Solarised Candle With Reflection],| c1930s/
social upheaval such as the Notting Hill Gate riots. He returned to Sydney in 1967, and published a book of photographs of New Guinean subjects in 1969. In 1972 he was appointed the photographer for the Art Gallery of NSW. Over the course of his career he photographed many artists.” Ref: NPG.

Miller Godfrey portrait ofview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

62.| Kerry Dundas (Aust., 1931–2010).| Godfrey Miller In His Studio, Young Street, Sydney,| 1950/later printing.| Silver gelatin photograph, signed in pencil over a faint ink signature on image lower right, 25.1 x 28cm. |
$2200| “Godfrey Miller (1893–1964) arrived in Australia from his native New Zealand in 1919. Serving as a light horseman in Egypt and Gallipoli, he was badly wounded. After his convalescence he continued his studies as an architect. From 1929 to 1931 he studied at the Slade School in London and during the 1930s he travelled extensively in Europe. In 1939 he settled in Sydney. From 1948 until his death Miller was a parttime teacher at East Sydney Technical College.” His artwork often showed his “enduring interest in molecular science and
mathematics.” Ref: NPG, AGNSW.

Ellis Rennieview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

74.| Rennie Ellis (Australian, 1940–2003).| Sir Robert Menzies At The Funeral Of Arthur Calwell,| 1973.| Vintage silver gelatin photograph, captioned “Bob Menzies”, titled, dated “July 1973” and signed by photographer’s wife Kerry Oldfield Ellis in ink in authentication stamp verso, 16.9 x 24.2cm. Minor crinkles, pinholes to edges not
affecting image.

Yang William portrait of by Joyce Evansview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

“William Yang [Aust., b.1943] belongs to a generation of artists who used photography to document alternative lifestyles and celebrate social diversity during the latter decades of the 20th century...Yang is the type of social documentary photographer who carries a camera around his neck, ready to capture things with a certain immediacy, as they happen around him.” Ref: MCA.

Evans Joyceview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Joyce Evans (Aust., b.1929).|
Vintage silver gelatin photograph, titled, dated
79.|
1996.|
and signed in ink in lower margin, titled, signed “Joyce Evans, photo” and annotated “vintage print, 96099 27A” in pencil verso, 35.4 x 25.5cm. Minor creases.

“William Yang [Aust., b.1943] belongs to a generation of artists who used photography to document alternative lifestyles and celebrate social diversity during the latter decades of the 20th century...Yang is the type of social documentary photographer who carries a camera around his neck, ready to capture things with a certain immediacy, as they happen around him.” Ref: MCA.

Fieldhouse Simonview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Simon Fieldhouse was a practicing solicitor until 1988, before taking up art fulltime. Ref: simonfieldhouse.com.
SimonFieldhouse(Aust.,b.1956).| PhilipAlexander,| 1986.| Collage of 27 Ctype photographs, titled, dated “24th July 1986” and signed in ink on backing below image, 76 x 45cm. Some photographs lifting at edges, on original backing. Framed.|
This collage is in the style of artist David Hockney.

Gemes Junoview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

84.| Juno Gemes (Aust., b.1944).| Oodgeroo Noonuccal [Kath Walker],| 1985/2003.| Colour digital print, photogra pher’s blindstamp in lower margin, titled, captioned, dated and signed in pencil verso, 39 x 26.2cm.|
$2950| Caption reads “At the only exhibition of her fabrics at Ulli Beyer [sic].” |Quandamooka, the art of Kath Walker| by Beier was published in
1985.
Kath Walker (1920–1993), also known as Oodgeroo Noonuccal, “was an Aboriginal activist, poet, writer [and artist]. Throughout her life, she aimed to promote cultural pride amongst Aboriginal people through her writing, which she described as ‘sloganistic, civil rightish, plain and simple’...[In 1988] she reassumed her tribal name in protest at the Bicentennial celebrations.” Ref: NPG, Trove.

Hilder Brett b1945view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Brett Hilder, Roses For Tina,| 1996/2002.| Silver gelatin photograph, signed in ink in lower margin, titled, dated and annotated in pencil verso, 17.7 x 26.5cm. Crinkles.|
Annotation reads “Print made in Hill End, November 2002.”
$1650|
“Brett Hilder is an Australian photographer, [writer], filmmaker and inveterate traveller whose work encompasses fashion, portraiture and landscape. In the 1960s and 70s, his distinctive fashion
photography, portraying a sense of mystery and romance, appeared in magazines including Vogue
In the mid 1970s he lived and worked in London and Paris. On his return to Australia he extended his work into theatre and film.” In 2002 he produced a film on the life of activist Mexican/ Italian photographer Tina Modotti. Ref: Murdoch Books.

|
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Brett Hilder (Australian, b.1945).|
86.|
Roses For Tina,| 1996/2002.| Silver gelatin photograph, signed in ink in lower margin, titled, dated and annotated in pencil verso, 17.7 x 26.5cm. Crinkles.|

Hoppe E Oview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
E.O. Hoppé (Brit., 1878–1972).| Arc House Cottage, Devonshire [UK],| c1926.| Vintage silver gelatin photograph, titled in ink in two hands, various copyright and publication stamps verso, 23.4 x 19.4cm. Slight silvering, chips to edges and faint stain to upper right corner.| $2200|
Stamps include “Copyright, E.O. Hoppé, London, please ack nowledge” and “The Mansell Collection, 42 Linden Gardens, London W2. On loan.”
In 1954 Hoppé sold his body of photographic work “to a commercial London picture archive, the Mansell Collection. Hoppé’s work was interfiled by subject with millions of other photographs...Almost all of Hoppé’s photographic work—that which gained him the reputation as Britain’s most influential international photographer between 1907 and 1939—was accidentally obscured from photohistorians and from photo
history itself. It remained in the collection for over thirty years after Hoppé’s death and was not fully accessible to the public until the collection closed down and was acquired by new owners in the United States.” Ref: Wiki.

Heimerman Billview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Bill Heimerman (Aust.,1950–2017) taught alongside Carol Jerrems and their friend Ian Lobb at Coburg Technical College, Victoria. Lobb and Heimerman were also codirectors of The Photographers Gallery in Melbourne from the mid1970s. Ref:
SMH,
30.1.2018.

Jerrems Carol Vale Streetview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

93.| Carol Jerrems (Australian, 1949–1980).| Vale Street [Melbourne],| 1975.| Vintage silver gelatin photograph, signed (twice), photographer’s address “15 Park Cres., Fairfield, Vic.”, titled and dated in pink ink, and signed (twice) in pencil in “Australian Centre for Photography” copyright stamp verso, 19.2 x 24.6cm. Slight scuffing, handling creases.|
$POA| Stamp reads “Photograph by Carol Jerrems. The Australian Centre for Photography Ltd, 76A Paddington St, Paddington 2021 NSW Aust. With permission this photograph may be
reproduced for publishing purposes only in connection with the book/exhibition entitled |Carol Jerrems.|” This image is held in the following institutions with their comments:
(a) “A quintessential image of the 1970s, ‘Vale Street’ has lost none of its capacity to enchant and disturb in the intervening years. In one sense it can be read as a sociological document; in another as a wholly subjective work of art.” Ref: AGNSW.
(b) “‘Vale Street’ was taken at the end of the day in St Kilda, Melbourne, where Jerrems was living, after a photographic session lasting many hours. On first glance, it has the appearance of being a straightforward documentary shot. And yet we know that it was carefully composed and orchestrated by Jerrems, who knew the subjects well.” Ref: NGA.
(c) “‘Vale Street’ is one of the most iconic photographs in Australian photography and extremely rare. MGA [Monash Gallery of Art] holds one of nine known prints.” Ref: MGA.

catalogue also has info that also Carol Jerrems was the still photographer for the 1978 Australian film |In Search of Anna,| directed by Jerrems’ then boyfriend, Esben Storm (1950–2011). Ref: King, |Up close: Carol Jerrems,| 2010.

Lewis Jonview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

102.| Jon Lewis (Aust., b.1950).| Bondi [Two Women],| 1984.| Vintage silver gelatin photo graph, titled, signed and dated in pencil verso, 38.2 x 47.8cm. Slight stain to upper margin.|
$2650|
$2250| “Lewis’ images do not over illustrate the popular beach concept of the sexy, pretty girl. His bodies embrace all folkorientated shapes: fat ones, short ones, thick ones, thin ones, wrinkled ones, strong ones, daggy ones, all accompanied by the extra flesh and bone bits which make up the whole. His outlook is refreshingly extrovert with a difference. He has a great spiritual affinity for these people and uses his camera with appropriate feeling, not just as an instrument for objective recording.” Ref:
Max Dupain, |SMH,| 25.6.1985.

and

Born in Maryland, USA, Jon Lewis is a selftaught photographer. “He spent the early years of his career working as a social photographer and film maker, living with artists like Martin Sharp, Brett Whiteley and George Gittoes in the Yellow House in Potts Point [NSW]. He was a founding member of Greenpeace, and his early film |Dolphin Dreamin| is now in the collection of the National Gallery of Australia. In 1984 he began taking the first of his many photographs of people on Bondi Beach, which were exhibited in Paris and toured between 1989 and 1993. SBS made a documentary about his work in 1990...[Writer and photographer] Robert McFarlane has written that Lewis is ‘the burr under the saddle of Australian photography’ because of his insistence on a pure, rather than a conceptual, approach to the medium.” Ref: NPG.

Lewis Jonview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

104.| Jon Lewis (Aust., b.1950).| Thelma Clune,| 1987.| Silver gelatin photograph, titled, signed and dated in pencil verso, 57.8 x 48.1cm. Slight stains and creases to margins.|
$2650 Thelma Clune (1900–1992) was an Australian artist and sculptor who opened galleries in Kings Cross with her husband, writer Frank Clune (1893–1971). Their galleries exhibited prominent Australian artists such as John Olsen, Russell Drysdale and Robert Hughes. The Terry Clune Art Galleries, opened by Thelma, Frank and their son Terry, located at what was their home on 59 Macleay Street, Kings Cross, was later to become the renowned Yellow House, an artists’ collective established by
Martin Sharp in 1970. Ref: NPG, Wiki.

Clune Thelma portrait ofview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

104.| Jon Lewis (Aust., b.1950).| Thelma Clune,| 1987.| Silver gelatin photograph, titled, signed and dated in pencil verso, 57.8 x 48.1cm. Slight stains and creases to margins.|
$2650 Thelma Clune (1900–1992) was an Australian artist and sculptor who opened galleries in Kings Cross with her husband, writer Frank Clune (1893–1971). Their galleries exhibited prominent Australian artists such as John Olsen, Russell Drysdale and Robert Hughes. The Terry Clune Art Galleries, opened by Thelma, Frank and their son Terry, located at what was their home on 59 Macleay Street, Kings Cross, was later to become the renowned Yellow House, an artists’ collective established by
Martin Sharp in 1970. Ref: NPG, Wiki.

Matthews Grantview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Grant Matthews was the still photographer for the film The Piano by Jane Campion. The movie is a “1993 New Zealand drama film about a mute piano player and her daughter, set during the mid19th century in a rainy, muddy frontier backwater town on the west coast of New Zealand.” Ref: Wiki.

110.| Grant Matthews (Australian, b.1952).| Maori Woman With Hat,| c1993.| Silver gelatin photograph from Polaroid contact print, faded signature in ink in lower margin, artist and title on “Stills Gallery” label on frame verso, 51.6 x
40.5cm. Framed.

Moffitt William H 1888-1948view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
115.| William H. Moffitt (Aust., 1888–1948).| Landscape, Katoomba [Blue Mountains, NSW],| 1938.| Vintage bromoil, signed and dated in pencil on image lower right, titled in
pencil in lower margin, 21.3 x 14.8cm. | Provenance: Moffitt estate.
A Sydney solicitor who took up photography about 1920, Moffitt joined the Sydney Camera Club in 1927. He experimented with paper negatives in the 1930s, producing landscape bromoils which have a distinctive graphic style. Always an advocate for pictorial photography, he wrote an article for the |Australasian Photo-Review| in 1947 defending the techniques used in pictorial photography.

Moore Davidview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
120.| David Moore (Australian, 1927–2003).| Slinging Passengers’ Baggage,| 1950/1993.| Silver gelatin photo graph, signed in ink on image lower right, 27.5 x 20.1cm. Framed.|
$3950| Accompanied by a certificate of authenticity from the estate of David Moore, signed by daughter Lisa Moore in pencil with date “November 2016.” Text continues “printed during David Moore’s lifetime in 1993 with
his supervision and is printed from the original negative.”
A widely travelled photojournalist, David Moore was one of Australia’s most significant photographers. “Moore commenced his professional photographic career in Sydney with Russell Roberts’ studio in 1947. Later he worked with Max Dupain before travelling to London in 1951. He was the first Australian photojournalist to work consistently for the international picture magazines during their heyday in the 1950s. For seven years
he photographed on assignment in the UK, Europe, Scandinavia, Africa and the USA, and his work was published in [magazines including] |The Observer, Time-Life, Look, The New York Times| and |Sports Illustrated.| He was one of only two Australian photographers included in the |Family of Man| exhibition in New York in 1955...From the 1970s Moore was based in Sydney.” His work is held in many private and public institutions including the National Gallery of Australia, New York Museum of Modern Art, Le Bibliothéque Nationale, and the Smithsonian. Ref: David Moore Archive.

Morler Lewis 1925-2013 portrait of Christine Keelerview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
129.| Lewis Morley (British/Aust., 1925–2013).| Christine Keeler,| 1963/1999.| Platinum palladium print, titled, editioned 23/25 and signed in pencil in lower margin, printing date on frame label verso, 45.3 x 34.8cm. Framed.| $38,500|
This image was one of a series of publicity shots for a film on the Profumo scandal, which was not released in the UK.
Held in AGNSW with the comment “One of the sixties’ most significant chroniclers, Lewis Morley is most known for his personages of the celebrities and rising stars from this restless and radical period, such as his iconic image of Christine Keeler seated naked on a fake Arne Jacobsen chair. In a photographic career spanning some 50 years Morley’s
work has made important contributions to the genres of portraiture, theatre, reportage and fashion photography.”

Scott Rogerview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Ref Roger Scott: from the street,| 2001

Roger Scott began his career as a printer at Leicagraph, Sydney, later studying photography at Sydney Technical College. Following travel in Europe, he set up his own business in 1978 as a documentary photographer and specialist printer of black andwhite work. After several group exhibitions, he held his first solo exhibition in 1978. Roger’s photographs reflect the everyday life of people around him, with a quirky affection for what he sees. Ref: JLG.

Sievers Wolfgandview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

155.| Wolfgang Sievers (German/Aust., 1913–2007).| Ropemaking, Miller Rope Factory, Melbourne,| c1962.| Vintage silver gelatin photograph, titled in pencil with two photographer’s stamps verso, 23.6 x 19cm. Slight indentations to image upper right and centre. Framed.|
|
|
Illustrated in McKenzie, $3950| photographers Australia,| 1998, p43 with Sievers’ commentary “In this image the dignity of man is staring you straight in the face. Respect for other human beings, and especially the worker, is what has motivated me in much of my industrial photography.” Held in NGA.

Born in Berlin, Sievers attended Contempora School for Applied Arts, which followed Bauhaus philosophy and subsequently influenced
Sievers. He emigrated to Australia in 1938, and specialised first in architectural photography, then in industrial photography, with dramatic images showing the relationship between worker and machine. Prior to his latter years, Sievers’ photography was mostly seen in commercial displays and annual reports. His work is represented in major Australian and overseas institutions. Ref: Wiki.

Scott Rovere aka Robert Vere Scott view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

153.| Rovere Scott aka Robert Vere Scott (Australian/American, 1877–1945). [Views Of San Francisco, California],| 1933.| Three vin tage silver gelatin photographs, each titled with photographer’s line in negative lower left to right, titled and dated by previous owner “Lupton” in ink verso, 19 x 24cm (each). Silver- ing, minor creases and surface loss.|
The group $2650 Titles read (1) The Golden Gate, SF, Calif.; (2) Seal Rocks, Cliff House, SF, Calif.; (3) Crossing the Bay, ferry building and skyline, SF, Calif. Two images held
in California Historical Society Library.

Smith Arthurview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

158.| Arthur Smith (Aust., c1871–1945).| The Cabbage Patch,| c1920s.| Vintage bromoil, titled and signed in pencil on backing below image, 22.4 x 23.7cm. Slight foxing, tipped to original backing.|
$1350| Britishborn Arthur Smith was a member of the Photo graphic Society of NSW and a regular writer for the |Australasian Photo-Review.| In the early 1930s, he wrote a series of articles entitled ‘Letters from an uncle’, one of which, ‘Photography in the city’ (March 1930) became “a classic insight into the Pictorialists’ compositional ideals with sunshine balanced against shadow, lights against darks.” Smith “never lost his love of English atmosphere. He was reputed to have lit fires in fields to obtain the effect desired.” Ref: G.
Newton (Photoweb).

Smith Heideview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

161.| Heide Smith (German/Aust., b.1937).| Neville Wommatakimmi [With Carved Figure],| 1988/1989.| Vintage silver gelatin photograph, signed, titled and dated in pencil verso, 34.7 x 28cm. Slight indentations and chips to edges of image.|
$4400| Illustrated in Smith, |Tiwi: the life and art of Australia’s Tiwi
people,| 1990, p122.

Smith Julianview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

162.| JulianSmith(Aust.,1873–1947).| ThePlotThickens,| c1930s.| Vintage silver gelatin photograph, titled and signed in pencil on accompanying original board from mount, 42.4 x 33.4cm. Soiling and stains to upper portion, slight silvering, retouching to image centre right, crinkles.|
Illustrated in Smith,
Fifty masterpieces of photography, as a smaller scale photogravure. Held in NGV, NLA.
A surgeon by profession, Smith used friends and models to portray dramatic characterisations. His original photographs are rare as he did not create set editions of his images. His work, more commonly seen as photogravures from his printed folio |Fifty masterpieces of photography,| is often confused for original photographs. Ref: JLG.

Smith Robinview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

163.| Robin Smith (NZ/Australian, b.1927).| Woman Returning Home, Evening [New Guinea],| 1968.| Vintage silver gelatin photograph, captioned, titled, dated and signed in ink verso, 39.5 x 29.2cm. Minor creases, surface loss to image upper centre, slight
silvering and developing flaws. Caption includes “New Guinea, East Highlands, on the road to Kainantu.” Illustrated on rear endpaper in Smith, |New Guinea: a
journey through 10,000 years,| 1969.

Talbot Henryview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

167.| Henry Talbot (Aust., 1920–1999).| Janice Wakely In Hong Kong,| 1960.| Vintage silver gelatin photograph, titled, dated and signed (twice) in ink and pencil verso, 29.7 x 25.8cm. Minor tears, chips and creases to upper edge, slight scuffing, developing flaw to image lower left.|
$3300| “Janice Wakely [née McIllree], fashion model and photographer, began her modelling career in Melbourne in 1954, having graduated from Sydney’s Mannequin Academy in 1952...[After 1956] she went to London, where she was dubbed ‘The Girl of
the Moment’.” Ref: NPG.
“Talbot’s fashion photographs were taken both in Australia and overseas. One series was shot in Hong Kong and Asia in 1960, and another project in Paris for the Australian Wool Bureau in 1967.” Ref: MAAS.

Tedeschi Mark (Aust., b.1952view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

169.| Mark Tedeschi (Aust., b.1952).| Lewis Morley [Photographer],| 2003/ 2006.| Digital print, signed and dated in ink in lower margin, titled, signed and dated verso, 24 x 37.6cm. Slight scuffing.|
$1100| A composite of Christine Keeler [Morley’s most famous image] and Pat Morley [his wife] is seen in
the mirror above the fireplace.
In his book |Shooting around corners| (2012, p122), Tedeschi writes “Lewis Morley has been the object of my admiration for many years. He is a most generous man with his time, advice, encouragement and friendship. When we get together, generally at his place, we often start shooting at each other.”

Tedeschi Markview full entry

Reference: Shooting around corners : photographs / by Mark Tedeschi ; introduction by John McDonald. [’This book is a "comprehensive collection of Mark Tedeschi's photographs which provides a sample of twenty-five years of his work. During this period he has been a prolific photographer, which is especially remarkable considering the other side of his life as the Senior Crown Prosecutor for New South Wales, prosecuting some of the most significant criminal trials in the State. The photographs cover a wide gamut of topics from indigenous urban and rural communities to constructed scenes of barristers? extracurricular pastimes and hobbies; from landscapes of urban decay to dramatic portrayals of the Australian desert; from portraits of prominent artists to delicate images of children and the elderly; and from intriguing domestic interiors to dramatic images of personal pathos on the streets of northern Italy. Many of his images are enigmatic, humorous, and deep with subtle meaning, requiring the viewer to engage with them to fully appreciate them. His special ability is to cross cultural boundaries and engage with people from a wide variety of backgrounds." - dustjacket.

"It is published in association with an exhibition at the State Library of New South Wales entitled 'Onside with the NRL'..." - dustjacket.’]
Publishing details: The Beagle Press, [2012] 180 pages : colour illustrations, portraits, photographs. Includes index.
Ref: 1000

Van Daele Patrick view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

173.| Patrick Van Daele (Aust., b.1960).| Piccadilly Theatre [Adelaide, SA],| 1996.| Vintage Ctype photograph with added handcolouring, captioned “Piccadilly”, signed and dated in ink verso, 26 x 19.1cm. Minor handling creases.|
$1100| Illustrated in Van Daele and Lumby, |Art Deco architecture in
Australia: a spirit of progress,| 1997, p193.
Designed by architects Evans, Bruer and Hall with Guy Crick, the Piccadilly Theatre opened in October 1940.

Lloyd R Ian view full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

180.| R. Ian Lloyd (Canadian/Aust., b.1953).| Singapore, Old Chinatown,| 1984/2019.| Folio of 30 giclée prints from colour transparencies, each image signed in ink in lower margin, titled,
dated and signed in ink verso, 26.5 x 41.9cm to 42 x 28.5cm.
The folio $29,700 This folio of 30 photographs is sold as a boxed set in an edition of 12, and includes an out of print, signed copy of Lloyd’s book, which illustrates these images. The price of the folio will increase as the edition
sells. A detailed list of the folio is available on request.
Lloyd photographed a series of images of Singapore during 1984 to document the city’s changes, as it was “rapidly modernising, shedding its colonial era image of a sailors’ port for an island city state with highrises and hightech manufacturing...[Chinatown] was not the image that the government wanted to promote to tourists and investors.” Lloyd spent time photographing and documenting Chinatown before its inevitable redevelopment, lending his photographs greater historical importance. His images were turned into a book, |Chinatown: a
personal portfolio,| published in 1984 by MPH Bookstores (Singapore). Ref: R. Ian Lloyd.

Weight Gregview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

178.| Greg Weight (Aust., b.1946).| John Olsen In Bath, Rydal [NSW],| 1996/later printing.| Silver gelatin photograph, photographer’s blindstamp on image lower right, annotated “A/P” and signed in ink in lower margin, titled, dated (twice) and signed in pencil verso, 46.8 x 35.3cm. |
$2200| Illustrated on front cover and in |Australian artists: portraits by Greg Weight,| 2004, p35 with comment “John told me his knees were giving him trouble and the bed and the bath at times became his only landscape...John hopped in the bath, fully clothed, with brushes in hand. The session developed into a spontaneous parody of the JacquesLouis David
painting ‘The Death of Marat.’” Held in NPG.
32

Morris Frank Tview full entry

Reference: Finches of Australia A Folio By Frank Morris.
Publishing details: Lansdowne, 1976. Folio, soft covers. Colour plates throughout. In publisher's box.
Ref: 1000

Spurlings Pty Ltd view full entry

Reference: Picturesque Launceston (Tasmania) & Surrondings Illustrated by Fifty-One Artistic Views (Cover title) Front page title reads Pictorial Souvenir of Launceston (Tasmania) and Surronding Tourists Resorts Containing Fifty Artistic and Up-To-Date Views by Spurlings Pty Ltd Launceston. No date C 1920. A very good copy of a scarce book of views
Publishing details: Spurlings Pty Ltd Launceston. No date C 1920.
Ref: 1000

Ogden Johnview full entry

Reference: Portraits From A Land Without People A Pictorial Anthology of Indigenous Australia 1847 - 2008 by John Ogden.
Publishing details: Sydney Cyclops Press, 2008?
Ref: 1000

Photographyview full entry

Reference: see Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’
Publishing details: Josef Lebovic Gallery, 2019, 32pp

Bayliss Charlesview full entry

Reference: see Charles Bayliss Clooection, issued with Josef Lebovic Gallery, Collectors’ List, , No. 195, 2019, ‘Australian & International Photography’

Five ]panoramas by Charles Bayliss. Essay by Gael Newton. Illustrated
Publishing details: Josef Lebovic Gallery, 2019, 8pp
Ref: 1000

Leach-Jones Alunview full entry

Reference: from DEFIANCE GALLERY NEWTOWN, May 2019,: Alun Leach-Jones was born in 1937 in Maghull, Lancashire, England. He studied at Liverpool College of Art before emigrating to Australia, where he enrolled at the South Australian School of Art, studying printmaking under Udo Sellbach and painting with Charles Reddington.
Leach-Jones was one of Australia’s most prominent abstract artists from the late 1960’s onwards know for his meticulous hard-edged painting style. A master of colour and form and, an artists with a prolific output, he worked across painting, printmaking, sculpture and was known as a suburb draughtsman. He was included in the landmark 1968 exhibition The Field at the National Gallery of Victoria and, the next year, represented Australia at the Biennale del Sao Paulo in Brazil and had over 80 solo exhibitions during his life time.

From 1969 Leach-Jones taught at the Prahran College of Advanced Education, the National Gallery of Victoria School and the Victorian College of the Arts.

In a career that spanned more than 45 years, Leach-Jones lived and worked in many international locations, including Berlin and New York. Leach-Jones’ held more than 80 solo exhibitions with survey exhibitions held at Lalit Kala Academy, New Delhi, India (1974), Monash University Gallery, Melbourne (1976), Kunstlerhaus Bethanien, Berlin, Germany (1981) Glyn Vivian Art Gallery, Swansea, Wales (1992), Geelong Art Gallery, Victoria (1995) and Newcastle Region Art Gallery, New South Wales (2007).

Leach-Jones' works are held in numerous collections in Australia and overseas, including the National Gallery of Australia and Australian state galleries, the Museum of Modern Art and Solomon R Guggenheim Museum in New York,National Museum of Wales, Cardiff; the Victoria and Albert Museum and British Museum, London and Walker Art Gallery, Liverpool. He was a generous benefactor to the Art Gallery of NSW, gifting 42 works during his lifetime.

He is best remembered for his idiosyncratic hard-edged style of painting and as a mentor and teacher, he was responsible for fostering the careers of many younger Australian artists. Alun Leach-Jones passed away in Sydney on 24 December 2017 and Defiance Gallery is honoured to represent the Alun Leach-Jones Estate and will continue to care for his name, work and legacy.

" I never use colour straight from a tube or a jar; everything has to be mixed. And it’s in the mixing that gives you a signature. It’s the pitch of the tone, or the brightness of the colour, the sharpness of the edge against a softer tone."
Alun Leach-Jones

" Once you start to realise you can become a painter, or a singer, or a dancer, you get a sense of, or taste of it, the only way you can become really major, is to just keep working, working, working. You cannot afford to let your guard down "
Alun Leach-Jones

Feint Adrian (1894-1971)view full entry

Reference: The life and times of Captain John Piper / by M. Barnard Eldershaw ; illustrated by Adrian Feint
Publishing details: First published, Sydney: Australian Limited Editions Society, 1939. 201pp,
Bibliography: p.201.
Ref: 1000

Mais Hilarieview full entry

Reference: Hilarie Mais

[’Hilarie Mais was born in the UK and lives and works in Sydney. Her work is characterised by a deep interest in the grid and its expressive possibilities. She makes abstract constructions and paintings that merge the formal structure of the grid with an interest in more organic forms found in nature.

Mais has been making work since the 1970s, influenced in part by her interest in the history of abstraction – in particular mid-20th century English constructivism, as well as later American minimalism including the work of Agnes Martin.

Mais’s work brings together formal geometry with biological and cellular structures to generate subtle visual experiences that are broadened expressively through the highly personalised application of paint. As such, the apparent formality of her works is undercut by emotional truth and underpinned by an organic and intimate sensibility, whilst the handmade quality of the works functions to personalise, even ‘feminise’ abstraction.

This beautifully designed exhibition catalogue presents a range of key works by Hilarie Mais made over the last decade and includes full colour reproductions and essays by co-curators Blair French and Manya Sellers.’]
Publishing details: MCA, 2017, Hardcover
144 pages,
Ref: 1000

Sobraneview full entry

Reference: see Thienny Lee Gallery June 2019. Sobrane

Where The Wild Birds Are

Exhibition: 13 June - 2 July 2019
Opening: Thursday 13 June, 6-8 pm
Please join us for opening drinks and meet the Artist.

Internationally acclaimed Broome based artist, Sobrane regularly holds exhibitions around Australia and overseas. Apart from her studio based works, she also works on large-scale murals and recently completed a 30-metre wall in Soriano Nel Cimino, as her third project on mural painting in Italy. In Where the Wild Birds Are, she features a series of mixed media artworks on canvas as a response to her passion for wildlife in Australia and around the globe, particularly fresh from her recent adventures in Tanzania. In this series, Sobrane continues her focus on birds and other wildlife as subject matters through her bold strokes that evokes an approach to pop art. Her exploration of medium parallels the materials found in everyday life, including the frequent use of blended charcoal, spray paint, coffee and pastels. These are employed together to create a fusion of painting, drawing, spraying, lines and dots marking on canvas. Running throughout her work is a strong intent to break through the confines of societal expectations and everydayness.

Creating is like breathing to me. There isn’t a single moment in my day where my creative mind isn’t whirring away… Art as in life is an adventure!” – Sobrane

Publishing details: Thienny Lee Gallery
176 New South Head Road, Edgecliff, NSW 2027

Rickard Bruceview full entry

Reference: Bruce Rickard - a life in architecture. By: Julie Cracknell (Editor), Peter Lonergan (Editor), Sam Rickard (Editor). [’Bruce Rickard was one of the most significant Australian architects of the twentieth century. A key member of the Sydney School, his practice spanned 60 years and he produced some of the most notable and recognisable houses of the period.
In Bruce Rickard: A life in architecture, architects, writers, academics and family members, including Karen McCartney and Anna Fienberg (who have both lived in Rickard houses), Babette Hayes, Philip Drew and Richard Goodwin, share their unique insights into Rickard's practice.
Featuring never-before-published photographs by Max Dupain and Bruce Rickard's hand-drawn plans, this stunningly produced book celebrates the pared-back beauty and ingenuity of Rickard's buildings.
‘]
Publishing details: Samuel Rickard ?, 2018, 376pp
Ref: 1000

Goodwin Richardview full entry

Reference: Richard Goodwin - God in Reverse. Author: Richard Goodwin, Designer: Sean Hogan,
“If Italo Calvino’s Invisible Cities has Venice at its core, then God in Reverse has Sydney as its object of tough love, unravelling the stranglehold that financialised space has placed around the city.” – Jeremy Till.
"Richard Goodwin is a mash-up genius. Perhaps carnivorous. Woof!" – Michael Sorkin
As an artist, architect and urban activist, Richard Goodwin has never been interested in following rules. It is therefore fitting that this monograph, encompassing over four decades of work, is entirely unorthodox.
Authored and illustrated by Goodwin (with both archival photographs and recent artwork), God in Reverse fuses biography, fiction, criticism, observation and imagination. It reveals a broad range of philosophies and cultural influences that underpin Goodwin’s practice and elaborates on his unique and experimental world-view, as it applies to his architecture, public artworks, sculpture, drawings and performance art.
Having studied architecture at both RMIT and UNSW, Goodwin has been a critical commentator of architecture and urbanism, particularly within Sydney, since the 1970s. The book moves seamlessly from lambasting the commercial greed of the Barangaroo wharf development, to ruminations on the divided city of Jerusalem, to lessons in urban planning offered by coral reefs. The ethical questions raised by the text span drone warfare and super-high density housing.
Designed by award winning designer Sean Hogan, the book’s taut and irreverent design is a testament to its unconventional content, with the text-flow and layout slowly discombobulating as the pages turn.
Richard Goodwin has a PhD from University of New South Wales Art & Design where he is a Professor. He has won a number of prizes including the Wynne Prize (2011) from the Art Gallery of NSW. Goodwin’s work is held in major collections including the Art Gallery of NSW, the National Gallery of Victoria and the Nuremburg Museum.
What others think:
“...looks like no other architect monograph we've ever seen...” American Institute of Graphic Arts, Eye on Design – Design Diary No. 242.
“If Italo Calvino’s Invisible Cities has Venice at its core, then God in Reverse has Sydney as its object of tough love, unravelling the stranglehold that financialised space has placed around the city.” – Jeremy Till.
"Richard Goodwin is a mash-up genius. Perhaps carnivorous. Woof!" – Michael Sorki
Publishing details: Publisher: Uro Publications, ISBN: 9780994396662, Hardback, 264pp, 250x340mm
Ref: 1000

Australian architecture since 1960view full entry

Reference: Australian architecture since 1960 by Jennifer Taylor,
Publishing details: Sydney : Law Book Co., 1986. 2nd edition, 236pp
Ref: 1000

architectureview full entry

Reference: see Australian architecture since 1960 by Jennifer Taylor,
Publishing details: Sydney : Law Book Co., 1986. 2nd edition, 236pp

Sydney Art Decoview full entry

Reference: Sydney Art Deco by Peter Sheridan. [’First photographic reference book on Sydney's Art Deco architecture and lifestyle in the 1930s and 1940s containing contemporary and vintage images. The book covers commercial, residential, cinemas, pubs, civic and industrial buildings with Art Deco features.’] [’For the first time, Sydney's Art Deco buildings of the 1930s and 1940s are identified and gloriously displayed with contemporary photographs alongside archival images.
Sydney Art Deco explores the impact of the Art Deco style on the landscape and life of Sydney during the 1930s and 1940s. Using contemporary and archival photos the book covers the whole gamut of moderne, functionalist and streamlined styling in the architecture of Sydney during the 1930s and 1940s. Art Deco was a global style and Sydney Art Deco explores its impact on the lifestyle of Sydneysiders with a glimpse of Australian artwork, fashion, furniture and accessories.
The time of Art Deco was a brief hiatus between two World Wars and compounded by the devastating effects of the Great Depression. Life was not always glamorous but in many ways the style ushered in a new sense of freedom for people from the Victorian era's restrictions of class and attachment to tradition. New technology, mass production and the machine age brought a promise of a new future and industrial design with new materials made affordable and stylish goods available to the whole community. Sydney was still steadfastly British in the 1930s but the international style of Art Deco made its mark in Sydney. The city is graced with some beautiful architectural examples which can be seen in Sydney Art Deco and which should be appreciated and maintained as part of Sydney's built heritage’]
Publishing details: Bakelite, 2019. 431pp
Ref: 1000

Art Decoview full entry

Reference: see Sydney Art Deco by Peter Sheridan. [’First photographic reference book on Sydney's Art Deco architecture and lifestyle in the 1930s and 1940s containing contemporary and vintage images. The book covers commercial, residential, cinemas, pubs, civic and industrial buildings with Art Deco features.’] [’For the first time, Sydney's Art Deco buildings of the 1930s and 1940s are identified and gloriously displayed with contemporary photographs alongside archival images.
Sydney Art Deco explores the impact of the Art Deco style on the landscape and life of Sydney during the 1930s and 1940s. Using contemporary and archival photos the book covers the whole gamut of moderne, functionalist and streamlined styling in the architecture of Sydney during the 1930s and 1940s. Art Deco was a global style and Sydney Art Deco explores its impact on the lifestyle of Sydneysiders with a glimpse of Australian artwork, fashion, furniture and accessories.
The time of Art Deco was a brief hiatus between two World Wars and compounded by the devastating effects of the Great Depression. Life was not always glamorous but in many ways the style ushered in a new sense of freedom for people from the Victorian era's restrictions of class and attachment to tradition. New technology, mass production and the machine age brought a promise of a new future and industrial design with new materials made affordable and stylish goods available to the whole community. Sydney was still steadfastly British in the 1930s but the international style of Art Deco made its mark in Sydney. The city is graced with some beautiful architectural examples which can be seen in Sydney Art Deco and which should be appreciated and maintained as part of Sydney's built heritage’]
Publishing details: Bakelite, 2019. 431pp

Borlase Nancy 1914-2016view full entry

Reference: see obituary Sydney Morning Herald, September 15, 2006: Nancy Borlase, 1914-2006, by Malcolm Brown.
Nancy Borlase, who has died at the age of 92, could not help but become an artist, despite circumstances in her early life. Driven by enthusiasm, passion and ideology, she married a Trotskyite and became a prolific painter and noted art critic.Born in Taihape, New Zealand, she was the youngest of three daughters of Bessie Morecroft and Edward Norris Borlase, the latter choosing to run off with the nursemaid. Bessie took the family to Napier where she ran a cabaret and worked as a dressmaker.Nancy, a trainee secretary, was at work on November 3, 1931, when an earthquake struck Napier, and she had to be dug out of the wreckage. She moved to Christchurch were she started her first art lessons and earned her living as a cafe fortune-teller, Madame Rosa.Borlase saw Sydney as the "mecca of South Sea art", and to raise the £10 for her fare to that mecca, she sold several paper lampshades she had made. She chose an extraordinary way to have a last look at her homeland: a solitary trek of the Lewis Pass, through a rugged part of New Zealand's South Island, the first person to do so after the surveyors.Arriving in Sydney in 1937 with £2 in her pocket, Borlase nearly crippled herself walking the streets in high-heeled shoes searching for work. She settled in William Street, East Sydney, enrolled at the East Sydney Technical College to study sculpture and worked as a waitress and artist's model. She quickly found that the bohemian community had its dark side.She was once raided by police, but no, she was not a woman of the night. "I managed to convince them that I was an innocent art student."Lacking a place to do sculpture, she decided on painting. Attracted to all forms of free expression, she went to the Domain's Speakers Corner and listened to Laurie Short expound Trotskyism. But it was another, wharf labourer and aspiring opera singer Bob Dodd, who initially attracted her.The relationship failed and in 1939 Borlase hitchhiked to Melbourne, lived next door to Sidney Nolan, befriended her benefactor John Reed and again worked as an artist's model.She co-led a models' strike for better pay and conditions. Alone and a little depressed, she bumped into Short on a street corner and the two struck up a relationship which led to their marrying on May 31, 1941.Borlase had to use a raincoat as a wedding dress. The only witness was Beryl, girlfriend of one Jim McClelland, later "Diamond Jim" of Whitlam government and judicial fame, who was at work as an ironworker and could not attend. Borlase and Short moved to Sydney and settled in Balmain, where Short worked as an assistant boilermaker. The home was next to the wharves, and Borlase painted portraits of seamen, including the dark-skinned Pacific Islanders. The two remained short of money. "Laurie was always on strike and not earning anything, and I was doing all sorts of jobs," Borlase said later. She had to scrub floors and work as a waitress at the Trocadero Cafe in the city. A daughter, Susanna, their only child, was born on August 23, 1944. In 1949, the family resettled in Gladesville, which did not suit Borlase because it lacked the vibrant creativity of Balmain. Short, with political views modified, faced his toughest battle when he stood for the position of national secretary of the Ironworkers Federation, pitching himself against the communists. Following a bitter court case, he was confirmed in 1951 as national secretary. In 1956, when Short travelled to the United States for a steelworkers' convention, Borlase went with him. Exposed to the influence of abstract expressionists such as Jackson Pollock, William de Kooning and Mark Rothko, she was inspired, moved from figurative to abstract painting, lectured on the subject and became active in the Contemporary Art Society. In January 1961 Borlase found a flat in Mosman and the couple moved there. It was to become their home for 45 years. Borlase's productivity remained high. She could see Sydney Harbour through her window and her abstract landscapes reflected leaves and water. She won the Mosman Art Prize, but success in competitions such as the Blake Prize for Religious Art eluded her. Discouraged, Borlase turned to art criticism, and did reviews for The Bulletin. In 1975 she became a critic for the The Sydney Morning Herald. In 1981, Borlase returned to painting and resumed figurative work. Some of her paintings were being hung in the National Gallery. In 1994, she received a $25,000 meritus award from the Australia Council. In 2000, she was awarded the Portia Geach Memorial Award for women artists. Borlase once said: "My life as a painter is a bit like the fable of the hare and the tortoise. It has been a long, slow haul, but I got there."
Publishing details: Sydney Morning Herald, September 15, 2006

Wadham William Joseph 1864-1950view full entry

Reference: see MUSEUM OF AUSTRALIAN DEMOCRACY AT OLD PARLIAMENT HOUSE, website article, Wed 5 May 2010 by Michael Richards;
Australian Politicians, c. 1887 (painting)

How did Australian politicians of the nineteenth century campaign, in the days before today’s pervasive electronic media? They went to where people gathered in their daily lives, and held political meetings in gathering places such as pubs, Mechanic’s Institutes, and open air venues such as a local park or even under a particular tree. These weren’t always mass meetings. Many, possibly the majority, were of small groups of people.
The museum has recently acquired a rare picture of one such meeting in a pub, by the artist William Wadham.
The work shows two men addressing a small group of onlookers – all apparently men - and is set within a simply furnished slab-sided pub, possibly in the bush. The painting is likely to date from about 1887, when the artist appears to have been working in Victoria. One speaker is reading from a book or a pamphlet, while the other is possibly underlining his points. They look as if they are working together, and the title may refer only to them. However APMC Fellow and historian Dr John Hirst suggests that the title might refer to the entire group, and that it may be satirical. The period was one of considerable political change, leading up to the formation of the first mass unions and the industrial troubles of the 1890s. It is possible the speakers depicted here are campaigning in this context, or they might simply be involved in an election campaign.
William Joseph Wadham was born in the UK in 1864 and emigrated to Australia in 1885, first settling in Adelaide. He made a living as a prominent artist in the Adelaide art scene in the late 1800s and as a dealer, exhibiting in Brisbane, Adelaide and Melbourne, and in the UK, and travelling regularly between Australia and Europe.
Many of his Australian sales were of English scenes, and vice versa. He also worked in Western Australia and New Zealand. Although most of his recorded works are landscapes, he also painted mining scenes, and it is also possible that this work is set in a pub in a mining or industrial area, signified by the hammer on the floor. Research by the art historian Stephen Scheding suggests this work may previously have been known as ‘Tavern Scene’, but reframing in 2009 brought to light a much older title on the rear of the work – ‘Australian Politicians’.

Holeschview full entry

Reference: Holesch 1910-1983 Horse Paintings
Publishing details: Published by: Austrascope, South Yarra 1989, 56 pp. Black-and-white illustrations in the text; colour plates
Ref: 1000

Rubuntja Wentenview full entry

Reference: The Town Grew Up Dancing: The Life and Art of Wenten Rubuntja with Jenny Green. With contributions from Tim Rowse
Published by: IAD Press, Alice Springs 2002
Publishing details: IAD Press, Alice Springs 2002. 196 pp. Colour and b/w illustrations in the text, including maps, photos and artworks. Includes notes, bibliography, historical outline, notes on skin names, index, and list of maps.
Ref: 1000

Troedel Charles publisherview full entry

Reference: The Melbourne album. Containing a series of views of Melbourne & country districts.Respectfully dedicated to, and patronized by His Excellency Sir Charles Darling, K.C.B.. by the lithographer and publisher, Charles Troedel. 73, Collins St. E. Melbourne.
[From Douglas Stewart Fine Books:
‘One of the great Australian colourplate books, ‘perhaps the finest work of urban topography produced in Australia in the nineteenth century’ (Wantrup).
Troedel’s Melbourne Album was originally issued in twelve monthly parts, the first advertisement for subscribers was placed in the Argus on 25 July 1863 and the last issue finished in November 1864 (Butler). No set in the original wrappers is known to still exist. Each part contained two lithographs, and later in 1864 a bound version was published with all twenty-four lithographs. Later that year or shortly thereafter, a shortened version of twelve images was issued, as offered here. The composition of the plates in the shortened version varies per copy, and some bear variant imprints. The lithographs were prepared by noted lithographers Cogne and Gilks, amongst others, after original paintings by Nicholas Chevalier, Eugene von Guerrard, Henry Gritten and others. Two plates are after original photographs by Nettleton and Morris, and two plates depict Aboriginal subjects.
The plates included in this set are:
1 Queens Wharf. (Yarra Yarra 1864). Inscribed in plate lower left : F. Cogné drawn & lith.
2 Merry Creek. (Plenty Ranges. 1864)
3 Elizabeth Street. (1864). Inscribed in plate lower left : Ed. Gilks, lith. Inscribed in plate lower centre : Nettleton, photo.
4 View from Studley Park. (1864)
5 Flinders Street. From the Melbourne Railway Station. Inscribed in plate lower right : Ed. Gilks, lith. Inscribed in plate lower left : A. Morris & Co., photo.
6 View of the Upper Mitta Mitta. From an oil painting by E. von Guerrard, the property of F. Kawerau. Esqr.
7 View on Eastern Hill (from a half way house, Albert Street.) Inscribed in plate lower centre : H. Gritten, pinx..
8 St. Kilda. From Kenny’s Bath
9 The Eastern Market from top of Whittington Tavern. Signed in plate lower left :J. B. Philp lithogr. Inscribed in plate lower right : Hy. Gritten Del.
10 Wentworth River Diggings Gipps Land. From a picture by N. Chevalier.
11 Nicholson Street. (Fitzroy).
12 Mount Abrupt and The Grampians. From a painting by N. Chevalier. Signed with the artist’s monogram in the image lower centre.
A fine illustrated record of colonial Melbourne during the boom of the gold rush.
Ferguson, 17323-17326, Wantrup 262c; Butler, Roger, Printed images in Colonial Australia 1801 – 1901, pp. 167 – 172 (illustrated)’]

Publishing details: Melbourne : Charles Troedel, circa 1864. Oblong folio, twelve fine tinted lithographs of Melbourne and regional Victoria,
Ref: 1000

Keulemans John Gerrard 1842-1912view full entry

Reference: A history of the birds of New Zealand by Walter Lawry Buller, 1838-1906; illustrated by John Gerrard Keulemans,
Publishing details: Second edition. The History (1888) : thirteen parts, bound in two volumes, quarto, (with supplement).
Ref: 1000

Angas George Frenchview full entry

Reference: The Anniversary Polka. Composed & dedicated to the Committee of Management of the Anniversary Regatta.

From: Douglas Stewar Fine Books:
‘lithographed cover by George French Angas, with a signed vignette of the Regatta entering Sydney Heads, above which is a banner ADVANCE AUSTRALIA and a coat of arms enclosing a vignette of a youthful Queen Victoria, light foxing, paper reinforcement to spine, 4 pages music notation (score for piano); a fine copy.
‘Henry Marsh was active as a publisher, composer, music teacher and pianist in Sydney in the 1850s and 1860s. There are no known dates of birth or death, nor any available date of his arrival to the colonies, but by 1851 he had established a music publishing business and gave music and singing lessons, at one time in association with WH Paling and at another with CE Horsley. Henry Marsh performed regularly in concerts as a singer, pianist, or conductor. He was also an entrepreneur, and ran a business selling pianos. Together with WG Mason he printed and published the Sydney Illustrated News in mid-1854, in which there is an extensive list of his music publications. He published many of his own works as well as those of other composers. He operated his teaching and publishing pracices from various premises in Sydney. Most of his compositions were popular dance pieces for piano. Works such as the Galop for Gold and The Nugget Schottische commemorate the NSW gold rush of the 1850s. Marsh was a brother of the harpist and colonial composer Stephen Hale Marsh, who established a branch of the publishing business in Melbourne from 1852. Henry Marsh appears to have ceased publishing in the early 1860s. He was listed as a professor of music in the city directories until 1873, which perhaps suggests his date of death or departure from the colonies.’ – NLA website
The printer, John Allan, is known to have used the services of artist George French Angas for a number of examples of sheet music in Sydney in the 1850s. In this example, he illustrated a lively polka written by Marsh for recital on Anniversary Day, now known as Australia Day, to be celebrated on January 26th. ‘The first regular official event was the Anniversary sailing regatta on Sydney Harbour. This started in 1837, and continues today. In time, enterprising publicans and pleasure ground proprietors provided a wide range of Anniversary entertainment, incidental to the regatta. Picnics around the harbour at pleasure grounds were popular, particularly group excursions. Anniversary Day horse races were held at Homebush in the 1840s. Interclub cricket matches and organised athletic sports were popular too.’ – Dictionary of Sydney website http://home.dictionaryofsydney.org/anniversary-day-2/

Publishing details: Sydney : H. Marsh & Co. [1853]. Printed by J. Allan. Folio,
Ref: 1000

Mapsview full entry

Reference: see Hodge Collection of Australian MapsExhibition at Cranbrook School
Publishing details: nd [1970]

Mapping Aboriginal Sydneyview full entry

Reference: see SMITH, Keith Vincent & BOURKE, Anthony (Curators) EORA. Mapping Aboriginal Sydney 1770-1850. ‘Published to coincide with an exhibition of art & maps of the Aboriginal peoples encountered in the Sydney region between 1770 & 1850. Aboriginal people were being rapidly subsumed by Europeans.’
Publishing details: Syd. State Library of NSW. 2006. 4to. Col.Ill.wrapps. 20pp. Profusely illustrated in colour and black & white.

mapsview full entry

Reference: see James Cook - The Complete Prints & Maps 1773 - 1784. Fully illustrated. Bibliography.
Publishing details: Antique Printroom, 2017, pb, 50pp.

Mapsview full entry

Reference: see Australia in Maps, Great Maps in Australia’s History from the National Library’s Collection
Publishing details: NLA, 2008 (reprint), laminated cover, 148pp

Maps view full entry

Reference: see CLANCY, Robert & RICHARDSON, Alan. THE MAPPING OF TERRA AUSTRALIS. A Guide to Early Printed Maps of Australia, Antarctica and the South Pacific.
Profusely illustrated in colour. Name on ffe, else Near Fine. 1st ed. Scarce. Long before the Dutch discovered Australia's west coast, philosophers, navigators & explorers spoke of a vast land to the south known as Terra Australis.
Robert Clancy explores its early imagined maps.
Publishing details: Syd. Universal Press. 1995. Folio. Or.bds. Dustjacket. 192pp.

Victorian Splendourview full entry

Reference: Victorian Splendour. Australian Interior Decoration 1837 - 1901, by Suzanne Forge. Photographs by Irvine Green.
‘The Victorians had a passion for an abundance of ornament, which they thought of as natural, necessary, civilized, enjoyable, & positively elevating. Suzanne Forge examines this Victorian excess.’
Vividly describes rare examples of surviving Victorian interiors in Australia. Deals with the Victorian approach to decorating. Expert advice about several aspects of interior decorating with appropriate illustrations. Index, glossary, bibliography, colour and black and white illustrations.’ – Trove
‘This book stresses the Victorian preoccupation with style, taste, form, ornament and colour (as well as their appropriate application in the drawing room, dining room, entrance hall, library, billiard room, bedroom, kitchen and bathroom). It also profiles 6 large Australian homes and provides chapters on restoration, wallpapers, floor coverings, stencilling, wood-graining, marbling. ‘

Publishing details: Melb. Oxford University Press. 1981. Folio. Or.bds. Dustjacket. 160pp. Profusely illustrated in colour and black & white. 1st ed.

photographyview full entry

Reference: Australian Photography - 1976. Laurence Le Guay (Ed). Profusely illustrated in colour and black & white. A collection of pictures from 90 contemporary Australian photographers from 1976 together with early photographs from the history of Australia compiled by noted Australian photographer, Laurence Le Guay.
Publishing details: Syd. The Globe Publishing Company. 1975. 4to. Or.bds. Dustjacket. 168pp.

cast ironview full entry

Reference: see Victorian Heritage - Ornamental Cast Iron in Architecture. The architecture of early Melbourne featured ornamentation by cast iron, often in a highly distinctive style. Influenced by Georgian & Regency styles, it had its own unique properties.
Publishing details: Georgian House & Ure Smith, 1960, pb Syd. 229pp.

architectureview full entry

Reference: see Victorian Heritage - Ornamental Cast Iron in Architecture. The architecture of early Melbourne featured ornamentation by cast iron, often in a highly distinctive style. Influenced by Georgian & Regency styles, it had its own unique properties.
Publishing details: Georgian House & Ure Smith, 1960, pb Syd. 229pp.

craft - colonial crafts in Victoriaview full entry

Reference: see Colonial crafts of Victoria: Early settlement to 1921. Curated by Murray Walker. Catalogue for National Gallery of Victoria exhibition 1978-79) [This book has sections on: Aborigines; travel; farming; hearth & home; recreation; gold; children; town & metropolis; ceremony etc].
Profusely illustrated in colour and black & white. ‘An exhibition catalogue of Colonial Crafts of Victoria from early settlement to 1921 held at the NGV.’ Includes some biographical information. To be indexed fully.
Publishing details: Craft Council of Australia, Melbourne (for NGV), 1978, b/w illusts, . (some col.) 166pp,

Streeton Arthur Panoramic View of Sydney Harbour, 1894view full entry

Reference: see SL magazine of the State Library of New South Wales, Winter 2019, p10-11, article by Lou Klepak on the acquisition of Streeton’s Panoramic View of Sydney Harbour, 1894 by SLNSW
Publishing details: SL, SLNSW, 2019

Feminist Club est Sydney 1914view full entry

Reference: see SL magazine of the State Library of New South Wales, Winter 2019, p 25ff article by James Keating.
Publishing details: SL, SLNSW, 2019

Russell John Peter portrait of his sonview full entry

Reference: see SL magazine of the State Library of New South Wales, Winter 2019, pages 32-5, article by Helen Casey and Margot Riley on the restoration of the work.
Publishing details: SL, SLNSW, 2019

Booth Lauraview full entry

Reference: see Ebay listing 5 June, 2019: Original Painting L. Booth (1885-1970) Listed Australian Artist, watercolour painting of a rural Australian scene depicting what appears to be a purple flowering Jacaranda tree.
The painting measures 34cm x 29cm and is protected behind glass. The painting, frame and glass are in very good condition considering it’s approx 100 years old.
Booth was a painter who showed her work with the Society of Women Painters throughout the 1910s. She is thought to be the Miss L. Booth who also exhibited with the Royal Art Society of New South Wales in 1916.

Exhibited with the Society of Women Painters in the1910s. The Mitchell Library holds her watercolour Gloucester Street, Old Sydney , 26.2 × 36.8 cm (ZML660), which has a plaque on the mount that reads: 'Gloucester St., Old Sydney. Laura Booth. Society of Women Painters, 1919 (First Exhibited Society of Women Painters, 1913). Transferred to the Mitchell Library from the Art Gallery of NSW 1967.’ As 'Miss L. Booth’, she exhibited at the Royal Art Society of NSW in 1916.

Ham Thomas and Cornelius J Hamview full entry

Reference: see Australian Book Auctions, 24 June, 2019, lot 21: GILKS, Edward (artist engraver). THOMAS HAM BUSINESS CARD. Cornelius J. Ham, Successor to T. Ham... Land & General Commission Agent... Engraved business card, 100 x 140 mm, from the Webster Collection with small stamp on back. Melbourne, Stringer, Mason, & Co, circa 1870. Extremely rare and ephemeral piece.

Ham Cornelius J and Ham Thomas view full entry

Reference: see Australian Book Auctions, 24 June, 2019, lot 21: GILKS, Edward (artist engraver). THOMAS HAM BUSINESS CARD. Cornelius J. Ham, Successor to T. Ham... Land & General Commission Agent... Engraved business card, 100 x 140 mm, from the Webster Collection with small stamp on back. Melbourne, Stringer, Mason, & Co, circa 1870. Extremely rare and ephemeral piece.

Cooke Albert Charlesview full entry

Reference: see Australian Book Auctions, 24 June, 2019, lot 40: COOKE, Albert Charles (artist and engraver). [BIRD’S- EYE VIEW OF MELBOURNE from the South]. Chromolithograph, 395 x 655 mm (sight), very fine, in a window mount, framed and glazed. [Melbourne, Sands & McDougall Limited, 1882]. Highly detailed view of Melbourne from the south, with Prince’s Bridge to the right, Queen’s Bridge to the left, extending past the city to the Exhibition Buildings and the University of Melbourne. Estimate $3000/5000

Turner Charlesview full entry

Reference: see Australian Book Auctions, 24 June, 2019, lot 49: TURNER, Charles. BUCHAN RIVER, GIPPSLAND. Chromolithograph (colour and gilt), approximately 150 x 340 mm., in a window mount. Melbourne and Sydney, Charles Troedel & Co., circa 1870. Uncommon separately-issued view by the well-known Victorian artist and illustrator. Estimate $200/400

Outhwaite Ida Rentoulview full entry

Reference: see Australian Book Auctions, 24 June, 2019, lots 133 - 151 including:

lot 137: OUTHWAITE, Ida Rentoul (illustrator). THE SENTRY AND THE SHELL FAIRY. Quarto, pp. 16, with six full- page colour illustrations, other black & white illustrations; neat and unobtrusive owner’s inscription, about fine in original colour decorated wrappers. Melbourne, British Imperial Oil Co. Ltd, n.d. circa 1922. Very scarce: through her husband’s association with the British Imperial Oil Company, Ida Rentoul Outhwaite was commissioned to illustrate a number of ephemeral gift booklets produced by the firm. The present piece, with text anonymously by George Martin, is illustrated by six colour plates of Outhwaite’s watercolour drawings of fairies and other black & white illustrations. Always an ephemeral piece, it is now one of her scarcest works.
Estimate $1000/1600

and

[138]
OUTHWAITE, Ida Rentoul (illustrator). THE FAIRY STORY THAT CAME TRUE [wrapper title]. Small quarto, with five coloured and one black & white illustration, original titling-wrappers (light use). Melbourne, British Imperial Oil Co. Ltd, n.d. circa 1922. Very rare: a delightful fairy story produced to advertise Shell Oil, a significantly rarer – and almost certainly earlier – companion to Outhwaite’s better known Sentry and the Shell Fairy. Outhwaite continued to produce similar commercial pieces but few with the same level of professional production as the pieces for Shell Motor Oil, which included another fairy story, The Sentry and the Shell Fairy, and two rare elaborately illustrated calendars. Muir, 2396.
Estimate $1200/1600

Aboriginal artview full entry

Reference: Dot & Circle - a retrospective survey of the Aboriginal acrylic paintings of Central Australia, edited by Janet Maugham and Jenny Zimmer [A loan exhibition from the Flinders University of South Australia, first shown at the RMIT Gallery, Melbourne, 16th April-3rd May, 1985. Melbourne : Communication Services Unit, Royal Melbourne Institute of Technology, 1986. 'Publication edited, produced and designed co-operatively by Janet Maughan in Adelaide and Jenny Zimmer in Melbourne.' Quarto, original pictorial stiff wrappers, 208 pp, illustrated with mainly black and white plates, with several colour plates as well as line drawings; maps, bibliography (pp 206-07); a fine copy. Rare.
A landmark publication, being the detailed illustrated catalogue of the first exhibition of Western Desert art to be staged in a major Australian gallery. With a foreword by Lois O'Donoghue, essays by J. Maughan, R.G Kimber, A. Crocker, P. Hogan, R.D. Morice, J.V.S. Megaw and G. Bardon, and interpretive notes on associated symbolism and mythology. Only a few hundred copies of this catalogue were printed.]
Publishing details: RMIT Gallery, 1986, 208pp

Index to Imagery in Colonial Australian Illustrated Newspapersview full entry

Reference: Index to Imagery in Colonial Australian Illustrated Newspapers. By Peter A. Dowling. Two volumes, v. 1. Subjects, v. 2. Creators. Two-volume publication indexes the approximative 12,000 images in nearly all colonial Australian illustrated newspapers, including those in the four major papers: Illustrated Australian News (1861-96), Illustrated Melbourne Post (1862-68), Illustrated Sydney News (1864-94) and Australasian Sketcher (1873-89). Volume two lists (under Australian states, plus NZ plus Pacific Islands) the names of artists, illustrators, cartoonists, engravers and other creators and each of these names has been listed in the Scheding Index. Refer to both volumes for detailed listings of the creators’ images.
Publishing details: The Author, 2012.foolscap folio, frontispieces, binder’s cloth. Hamilton, 1490 pages.
Ref: 1009

Newspaper illustrationsview full entry

Reference: see Index to Imagery in Colonial Australian Illustrated Newspapers. By Peter A. Dowling. Two volumes, v. 1. Subjects, v. 2. Creators. Two-volume publication indexes the approximative 12,000 images in nearly all colonial Australian illustrated newspapers, including those in the four major papers: Illustrated Australian News (1861-96), Illustrated Melbourne Post (1862-68), Illustrated Sydney News (1864-94) and Australasian Sketcher (1873-89). Volume two lists (under Australian states, plus NZ plus Pacific Islands) the names of artists, illustrators, cartoonists, engravers and other creators and each of these names has been listed in the Scheding Index. Refer to both volumes for detailed listings of the creators’ images.
Publishing details: The Author, 2012.foolscap folio, frontispieces, binder’s cloth. Hamilton, 1490 pages.

Colonial Newspaper illustrationsview full entry

Reference: see Index to Imagery in Colonial Australian Illustrated Newspapers. By Peter A. Dowling. Two volumes, v. 1. Subjects, v. 2. Creators. Two-volume publication indexes the approximative 12,000 images in nearly all colonial Australian illustrated newspapers, including those in the four major papers: Illustrated Australian News (1861-96), Illustrated Melbourne Post (1862-68), Illustrated Sydney News (1864-94) and Australasian Sketcher (1873-89). Volume two lists (under Australian states, plus NZ plus Pacific Islands) the names of artists, illustrators, cartoonists, engravers and other creators and each of these names has been listed in the Scheding Index. Refer to both volumes for detailed listings of the creators’ images.
Publishing details: The Author, 2012.foolscap folio, frontispieces, binder’s cloth. Hamilton, 1490 pages.

Wakelin Roland 1936 oilview full entry

Reference: see Bonhams Important Australian Art
26 June 2019, lot 13: Roland Wakelin (1887-1971)
House on Berry's Bay, 1936
signed and dated lower left: 'R. Wakelin 1936'
oil on canvas on board
49.5 x 75.0cm (19 1/2 x 29 1/2in).
Footnotes
PROVENANCE
Mr John D. Moore, Sydney
thence by descent
Private collection, New South Wales

EXHIBITED
possibly, Roland Wakelin, Macquarie Galleries, Sydney, 2 - 14 November 1936, cat. 28, as Berry's Bay

The 1930s were a pivotal decade for Roland Wakelin. In 1934 he was elected a member of the Society of Artists and the following year, he staged his first commercially successful exhibition with Macquarie Galleries. His work had begun to shift in style, with the 1935 exhibition noticeably different from his earlier works. Referring to the new manner, the Sydney Morning Herald's critic noted ' . . a growing delicacy and mellowness of expression. The Cézanne-like period seems to have passed its zenith, giving place to passages of pure lyricism which point to the ascendancy of other stars.'1 From the exhibition, the Art Gallery of New South Wales acquired Mount Wellington, Tasmania, a landscape similar in scope and scale. By 1938, his work was included in a major survey of 150 years of Australian art and in 1942, he was the subject of a retrospective at the Art Gallery of New South Wales.

This new, gentler mode observed in the 1935 exhibition was to carry Wakelin through the next thirty years of his practice. He continued to focus on landscapes, revisiting the harbour and most particularly, Berry's Bay, with the occasional interior and some portraits. As James Gleeson noted, 'For all his interest in theory and ideas, Wakelin never wandered very far from the visual facts. Unlike many who found inspiration in Cézanne, he was never tempted to take the steps that would lead to complete abstraction. Instead he used the discoveries of the master to draw him closer to the realities of natural form and it is in the work from 1934 onwards, when all earlier influences had been assimilated, that the essential Wakelin emerged.'2

1. Sydney Morning Herald, Sydney, 2 June 1935, p. 4
2. James Gleeson, 'Tribute to a Pioneer', Sun, Sydney, 5 April 1967, p. 36

Barnes Robert painted by Margaret Olleyview full entry

Reference: see Bonhams Important Australian Art
26 June 2019, lot 12:
Margaret Olley (1923-2011)
Model Resting, 1999
signed lower right: 'Olley'
titled verso: 'MODEL RESTING'
oil on board
46.0 x 61.0cm (18 1/8 x 24in).
Footnotes
PROVENANCE
Philip Bacon Galleries, Sydney (in conjunction with Brian Moore Fine Art)
Gallery 460, Gosford
Private collection, Sydney

EXHIBITED
Margaret Olley, Philip Bacon Galleries in conjunction with Brian Moore Fine Art, Sydney, 18 October - 4 November 2000, cat. 27

Margaret Olley, a friend to many, was highly regarded as a mentor to, and great supporter of, younger artists. Cressida Campbell and Ben Quilty both blossomed under her watchful eye. Also in her circle was Robert Barnes, a Brisbane-born artist known for his use of thick impasted oil paint. In 1999, Olley organised a painting day with a life model for herself and Barnes, with Barnes shown here in the foreground. Barnes' resulting work Macbeth's Visitor, 1999, was gifted by Olley to the Art Gallery of New South Wales where it remains in the permanent collection. The work was selected by Olley for inclusion in the 2002 exhibition Favourites: Margaret Olley and Jeffrey Smart, which was held at the S.H. Ervin Gallery, Sydney.

We gratefully acknowledge the kind assistance of The Olley Project (courtesy of the Margaret Olley Art Trust and Philip Bacon Galleries, Brisbane) in cataloguing this work.

Passmore Johnview full entry

Reference: see Elwyn Lynn, 'John Passmore and the legend of Paul Cezanne', Art and Australia, Vol. 23, No. 1, Spring 1985

Passmore John Bathersview full entry

Reference: see Bonhams Important Australian Art
26 June 2019, lot 14:
John Richard Passmore (1904-1984)
Study for The Bathers, c.1951
oil on masonite
44.5 x 70.0cm (17 1/2 x 27 9/16in).
Footnotes
PROVENANCE
Mr John D. Moore, Sydney
thence by descent
Private collection, New South Wales

RELATED WORK
The Bathers, 1951, oil on composition board, 91.0 x 183.0cm, private collection

Whilst residing in London having relocated in 1933, John Passmore was working for Lintas Pty Ltd as a layout artist during the day and attending evening classes at the Westminster School of Art, studying under Mark Gertler and Bernard Meninsky. Living in London gave Passmore the opportunity to be surrounded by the historically significant works of artists such as Rembrandt, Tintoretto, Cézanne and Picasso, all of whom had a profound influence.

On his return to Australia in 1951 Passmore's paintings were frequently characterised by figurative displays, often situated along the Sydney waterfront. The present work, Study for The Bathers, is poised between figuration and abstraction. Passmore accentuates the bathers mid-dive by surrounding the figures with areas void of paint.

Fellow artist, Elwyn Lynn, discusses Passmore's figurative works in his 1985 Art and Australia article: 'It is Passmore's group of bathers and nudes even if, unlike the grey works, the colours derive from Cézanne...The grouping seems almost fortuitous in its dispersal; Cezanne would make a pyramidal pile of very still nudes, distinctly separated from the landscape, but Passmore has them lying in varied postures and so dispersed that they are either emerging from or merging with the landscape.'1

1. Elwyn Lynn, 'John Passmore and the legend of Paul Cezanne', Art and Australia, Vol. 23,
No. 1, Spring 1985, p. 60

Fairweather Ian Spring 1964view full entry

Reference: see Bonhams Important Australian Art
26 June 2019, lot 25
Ian Fairweather (1891-1974)
Spring, 1964
titled on painted artist's label verso: 'Spring'
synthetic polymer paint and gouache on cardboard on hardboard
96.0 x 67.0cm (37 13/16 x 26 3/8in).
Footnotes
PROVENANCE
Macquarie Galleries, Sydney
Private collection, Sydney

EXHIBITED
Easter Exhibition, Macquarie Galleries, Sydney, 3 - 22 April 1974, cat. 7

LITERATURE
Murray Bail, Fairweather, Murdoch Books, Sydney, pp. 209-10, 259, pl. 181, cat. 208 (illus.)
Treania Smith interviewed in 1965 by Hazel de Berg in the Hazel de Berg collection [sound recording], National Library of Australia, 279650 Macquarie Galleries Papers, 1981, Edmund and Joanna Capon Research Library, Art Gallery of New South Wales

RELATED WORKS
Winter, 1964, synthetic polymer paint and gouache on cardboard on hardboard, 100.0 x 71.0cm, private collection, Melbourne
Summer, 1964, synthetic polymer paint and gouache on cardboard on hardboard, 71.7 x 101.6cm, Private collection
Autumn, 1964, synthetic polymer paint and gouache on cardboard on hardboard, 93.0 x 64.5cm, private collection, Melbourne

Conversation with Edit Daws and the author

When Treania Smith, the co-owner with Lucy Swanton of the Sydney art gallery, Macquarie Galleries, visited Lina Bryans' house in Melbourne in 1946, she expressed interest in the work of Ian Fairweather who at the time was renting a room in the house. It would be a very difficult thing, Jock Frater and Bryans told her, but a few days later he said, with some surprise, that Fairweather had 'consented' to put some of his work in a room where she could view it. As she walked down the corridor towards the room, she heard footsteps behind her and sensed it was the reclusive artist but knew that 'like Lot's wife' she had better not look around. In the room she nervously viewed the works, while Fairweather watched her through a chink in the door. She was, she later said, terrified that she might say the wrong thing and lose him.

Fairweather refused anyway and soon after left for North Queensland. Then in about 1949, he wrote to Smith out of the blue. 'The wolf is at the door', he wrote and asked if she could sell some paintings for him. She did, very quickly, Hal Missingham buying two for the Art Gallery of New South Wales. Smith sent Fairweather a 'fiver' (£5 note), 'a lot of money in those days,' and from that time on forged a professional and personal relationship with the artist that would last until his death in 1974.

Every month she wrote to him, and every month he wrote back. Then the letters stopped and Fairweather suddenly disappeared. 'We thought he was dead', Smith said. Soon after news came that he had been thrown into gaol in Java, having been arrested following his disastrous voyage across the Timor Sea on a home-made raft. After his rescue (by Maie Casey) and subsequent extradition to England, Fairweather returned to Australia in 1953, his family chipping in to pay his fare. He arrived in Sydney but went immediately north, back to Bribie Island in Queensland which he had briefly visited in 1949. This time, he built himself a hut in the middle of ten acres of pine trees, a studio in which he could both live and work, a permanent home. He was 62.

Before going to Bribie, Fairweather had sent Smith a telegram, instructing her to send the rest of his money to a bank account in Brisbane. She wrote back to him, telling him to write her a letter, for she had still not managed to set eyes on the artist and could only verify his identity through his handwriting. He did so and the relationship resumed. It was a mutually successful relationship during which time Fairweather painted the works that are generally considered to be his masterpieces. For the first time in his life he had a studio sufficiently isolated to provide him with the solitude necessary to his work, while also maintaining a professional relationship that for once provided financial security.

The three Macquarie Galleries women – Smith, Swanton and a junior partner Mary Turner – were more than simply his gallerists, or 'agents', as Smith described them. They were his financial advisers and business managers in all areas of his life, they were his friends and mother surrogates who bought him clothes when needed and soothed his sometimes overly sensitive feelings; and they framed his paintings and promoted them to the most discriminating collectors. By the late 1960s queues would form outside the Gallery long before the doors opened on a Fairweather exhibition.

While still a shy person who was extremely discriminating in his personal friendships, by the 1960s Fairweather could tentatively allow a few people into his life: artists and neighbours Lawrence and Edit Dawes, Betty and Roy Churcher and their children, poet Pam Bell and artist Margaret Olley, photographer Robert Walker, gallerist Rudy Komon. Even Treania Smith managed to visit him a few times, though one has the impression that they both preferred to pursue things through their letters. He played chess with Lawrence, drank Rudy's Scotch and red wine and ate Edit's delicious food. Occasionally a neighbour might drop by for a chat, though there were other locals who complained of the squalor in which he lived and the rubbish he accumulated. He gained a reputation as an eccentric and the media began to write stories of the reclusive artist who lived in a humpy. The myth was born. ('He was mighty social for a recluse', Edit Dawes would later say.).

In spite of this, he read the newspaper most days and often commented on the critics' view of his work, especially when it was not favourable. He once took umbrage with Elwyn Lynn who compared his work (unfavourably) with that of Mark Tobey, Da Silva and Corneille.'I have never heard of them', he wrote indignantly to his 'dear Miss Smith'. He was loathe to ascribe any particular influence other than Cézanne, stating that he had been a bit like a weather-cock as far as all that was concerned.

On 6 December 1964, Fairweather wrote to Smith that he was packing and sending twelve paintings, four of which were 'Spring, Summer, Autumn and Winter' (1 to 4). Never known as someone who took great care with his packing, Fairweather was nevertheless anxious and hoped 'they arrive safe'. By this time in his career, he had decided that 'there was only really one subject that he was interested in, by which he meant people'. He had long ago stopped using a sketchbook and painting from a model, a study or nature. He
composed from his imagination and memory alone, repeating various motifs of groups – usually two or more – of people. He worked slowly, he said and liked to put a work in progress to one side so that it could 'cook', whilst working on several paintings at the same time. Perhaps it was this unconventional work method that led him to do the four paintings as a series, the only such time he painted four thematically related works. As the works were difficult to identify individually – there is nothing to indicate literal climates or seasons – Fairweather titled them on the back on pieces of cardboard he had cut into strips.

However, in spite of their being painted as a themed series, the Macquarie Galleries decided not to exhibit all four together, only Winter and Summer being shown in 1965, while Autumn was shown in 1968 and Spring in 1974. A later illustration of all four together in Bail (pp.208-209) perhaps explains why, for there is an almost overwhelming melancholy when the works are seen as a group: mask-like faces stare back at the viewer, barely human and more the stuff of nightmares. Spring lacks this nightmarish quality and is as a consequence a less haunting work. It is nevertheless a poignant image of two figures, perhaps a mother and child, though the taller figure could be seen to almost break into other forms, other bodies.

There is an air of bewilderment to the image as if the artist were puzzling out the relationship. People: the only subject, Fairweather said, for that's what 'it (life? art?) all boiled down to'.

Dr Candice Bruce

Collard Anna Sarah Rachel view full entry

Reference: see Raffan Kelleher & Thomas auctions 11.6.19, lot 45: ANNA SARAH RACHEL COLLARD (1824-1904), Rounding up Cattle 190?, watercolour on paper, signed lower right and dated indistinctly lower right

ESTIMATE
1500 - 2500

artists’ booksview full entry

Reference: see HELEN COLE, Public collections of artists’ books in Australia, The La Trobe Journal No. 95 March 2015
Publishing details: The La Trobe Journal No. 95 March 2015

catalogueing manualview full entry

Reference: The Small museums cataloguing manual : a guide to cataloguing object and image collections / [editors: Hilary Ericksen and Ingrid Unger].
Publishing details: Museums Australia (Victoria), 2009, 95 p
Ref: 1000

catalogue conventions manualview full entry

Reference: see The Small museums cataloguing manual : a guide to cataloguing object and image collections / [editors: Hilary Ericksen and Ingrid Unger].
Publishing details: Museums Australia (Victoria), 2009, 95 p

Lister Lister Wview full entry

Reference: see Landscape painting from nature in Australia : a manual for the student in oil and water colours / by A.J. Daplyn; ... six full-page reproductions of pictures by W. Lister Lister
Publishing details: Sydney : W.C. Penfold, 1914
xiv, 69 p., [12] leaves of plates (1 col.) : ill.

Cataloguer’s Manual for the Visual Arts view full entry

Reference: Cataloguer’s Manual for the Visual Arts, by Therese Varveris, edited by Eric Rowlison, Produced under the supervision of the Catalogue and Information Retrieval Committee of the Australian Gallery Director's Council.
Publishing details: Sydney : Australian Gallery Directors' Council, 1980
107p, looselleaf.

cataloguingview full entry

Reference: see Cataloguer’s Manual for the Visual Arts, by Therese Varveris, edited by Eric Rowlison, Produced under the supervision of the Catalogue and Information Retrieval Committee of the Australian Gallery Director's Council.
Publishing details: Sydney : Australian Gallery Directors' Council, 1980
107p, looselleaf.

Bunter Roderickview full entry

Reference: from Australian Art Auction Records: Biographical Information
Rod Bunter was born in 1970, and lives and works in Brisbane.
He graduated from the Queensland College of Art with a Bachelor of VIsual Arts, majoring in painting in 1990, returning in 2010 to complete his Masters of Visual Arts.
He is the winner of several awards including the Melville Haysom Scholarship, The Churchie Emerging Art Prize and the Griffith University Award for Academic Excellence.
Throughout the 1990s, Bunter was heavily involved in art galleries, running ISNT Gallery from 1992-1996, and curating and exhibiting in spaces such as Plotz Gallery, Smith & Stoneley and Modus Studios.
Bunter has staged solo exhibitions at the Institute of Modern Art, Brisbane (1998, 2000 and 2003) and was featured in Primavera 2002 at the Museum of Contemporary Art, Sydney.
Since 1998, Bunter has exhibited with Gallery Schubert, Helen Gory Galleries and Richard Martin Art. He is represented in numerous private and public collections throughout Australia and the rest of the world.
"Rod Bunter’s work lifts and recontextualises visual passages as a writer quotes or musician samples rifts, but the ‘new whole’ he conjures relates more to himself than any of his disparate sources" - Simon P Wright Director, Griffith Artworks

Australian art auction records 1975-2007 13 volumesview full entry

Reference: Australian art auction records. [Includes New Zealand auctions, 1989/91-]
First 4 issues lack numerical designation.
Compiled by Edward D. Craig.
Issues from vol. 5 (1984-1987) also available on cdrom: AVAD (Information retrieval system), published 1992-
From 2008 only available online.

[Also available on the World Wide Web at: http://artrecord.com/ (subscription required). ]
Publishing details: Sydney : Ure Smith, 1975-2007
v. : ill.

auction records 1975-2007 and 2008 onwards olnlineview full entry

Reference: see Australian art auction records. [Includes New Zealand auctions, 1989/91-]
First 4 issues lack numerical designation.
Compiled by Edward D. Craig.
Issues from vol. 5 (1984-1987) also available on cdrom: AVAD (Information retrieval system), published 1992-
From 2008 only available online.

[Also available on the World Wide Web at: http://artrecord.com/ (subscription required). ]
Publishing details: Sydney : Ure Smith, 1975-2007
v. : ill.

Australian art auction records 2008 onwards olnlineview full entry

Reference: see Australian art auction records.
From 2008 only available online. Compiled by Edward D. Craig.

Publishing details: [Available on the World Wide Web at: http://artrecord.com/ (subscription required). ]

Dictionary of Australian Art Onlineview full entry

Reference: Dictionary of Australian Art Online now Design and Art Australia Online. ‘Design & Art Australia Online (DAAO) is a collaborative e-Research tool built upon the foundations of the Dictionary of Australian Artists Online. DAAO is an open source freely accessible scholarly e-Research tool that presents biographical data about Australian artists, designers, craftspeople and curators. A framework of open access intellectual property rights is an underlying principle of DAAO. We are committed to sharing information and collaborative research. We welcome all committed researchers, be they artists, family historians or affiliated academics, to engage in the principles of public scholarly research by contributing to DAAO's growing database.’
Publishing details: www.daao.org.au

Design and Art Australia Onlineview full entry

Reference: previously Dictionary of Australian Art Online now Design and Art Australia Online. ‘Design & Art Australia Online (DAAO) is a collaborative e-Research tool built upon the foundations of the Dictionary of Australian Artists Online. DAAO is an open source freely accessible scholarly e-Research tool that presents biographical data about Australian artists, designers, craftspeople and curators. A framework of open access intellectual property rights is an underlying principle of DAAO. We are committed to sharing information and collaborative research. We welcome all committed researchers, be they artists, family historians or affiliated academics, to engage in the principles of public scholarly research by contributing to DAAO's growing database.’
Publishing details: www.daao.org.au

DAAOview full entry

Reference: previously Dictionary of Australian Art Online now Design and Art Australia Online. ‘Design & Art Australia Online (DAAO) is a collaborative e-Research tool built upon the foundations of the Dictionary of Australian Artists Online. DAAO is an open source freely accessible scholarly e-Research tool that presents biographical data about Australian artists, designers, craftspeople and curators. A framework of open access intellectual property rights is an underlying principle of DAAO. We are committed to sharing information and collaborative research. We welcome all committed researchers, be they artists, family historians or affiliated academics, to engage in the principles of public scholarly research by contributing to DAAO's growing database.’
Publishing details: www.daao.org.au

Australian Art Sales Digest onlineview full entry

Reference: Australian Art Sales Digest online. ‘Art market information for Australian and New Zealand forthcoming auctions, past auction results from 1969 to the present, market statistics, news and opinion.’
Publishing details: https://www.aasd.com.au

AASDview full entry

Reference: Australian Art Sales Digest online. ‘Art market information for Australian and New Zealand forthcoming auctions, past auction results from 1969 to the present, market statistics, news and opinion.’
Publishing details: https://www.aasd.com.au

Last Resting Place of Australian Artists onlineview full entry

Reference: Last Resting Place of Australian Artists online.
‘This website records the last resting place of over one thousand artists who have been instrumental in creating and reflecting Australia’s culture and heritage.

Whilst they are not all Australian by birth, each has worked here and left their mark.

This information will assist you if you wish to visit these sites to pay your respects, seek inspiration or identify which artists are resting in a particular cemetery or crematorium.

Where cremations occurred and ashes were collected, further information has not been sought as I felt it better to let family members or friends contact me.

Some artists are still being researched and no doubt there are others not included. Also whilst great care has been taken to record verified information, mistakes can occur. If you are able to assist in any way, please contact me.

This project was started because I have a great passion and respect for art and artists and also because it is important that we remember them and take care of their place of rest.

To the people at various Registry offices, cemeteries, crematoriums and others who are family members and friends of the artists, a very sincere thank you for your help. This project would not have been possible without you.’
Publishing details: CONTACT DETAILS:
Col Fullagar
P.O. Box 17
KURMOND NSW 2757
AUSTRALIA
Current email cfullagar@hotmail.com

Drew Judyview full entry

Reference: exhibited with Melbourne Fine Art Gallery, November 2001, in Perth.
Publishing details: catalogue details to be located.
Ref: 1000

Dry Anthonyview full entry

Reference: exhibited with Melbourne Fine Art Gallery, November 2001.
Publishing details: catalogue details to be located.
Ref: 1000

zBukvic Josephview full entry

Reference: exhibited with Melbourne Fine Art Gallery, Ocober-November 2001.
Publishing details: catalogue details to be located.
Ref: 1000

Zbukvic Josephview full entry

Reference: exhibited with Melbourne Fine Art Gallery, Ocober-November 2001.
Publishing details: catalogue details to be located.
Ref: 1000

Preece Glenview full entry

Reference: exhibited with Melbourne Fine Art Gallery, August 2001.
Publishing details: catalogue details to be located.
Ref: 1000

Kingsley leslieview full entry

Reference: exhibited with Melbourne Fine Art Gallery, July 2001.
Publishing details: catalogue details to be located.
Ref: 1000

Celaya Enrique Martinezview full entry

Reference: Liverpool Street Gallery, Sydney, December 2004. catalogue Includes biographical information.
Publishing details: Liverpool Street Gallery, Sydney, December 2004, 6pp
Ref: 139

Akerman Crispinview full entry

Reference: exhibited with Gallery 460, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Benoit Margaretview full entry

Reference: Eva Breuer catalogue Includes brief biographical information.
Publishing details: Eva Breuer catalogue, 2004, i page
Ref: 139

Band Davidview full entry

Reference: exhibited with Tim Olsen Gallery, 2002 (?)
Publishing details: catalogue details to be located.
Ref: 1000

Nyadbi Lenaview full entry

Reference: Niagara Galleries catalogue Includes brief biographical information. 8 illustrations.
Publishing details: Niagara Galleries, 2007, 3pp
Ref: 139

Amos Anthonyview full entry

Reference: Depot II Gallery catalogue, 2002. Includes brief biographical information. 5 illustrations.
Publishing details: Depot II Gallery catalogue, 2002., 6pp
Ref: 139

Austin Darylview full entry

Reference: exhibited with Stella Downer Fine Art, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Cannon Kerryview full entry

Reference: exhibited with Span Galleries, Melbourne, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Carsely Garyview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Croft Belinda Lview full entry

Reference: exhibited with Niagara Gallery, Melbourne, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Cilento Margaretview full entry

Reference: exhibited with Eva Breuer Gallery, 2005. Includes biographical information.
Publishing details: Eva Breuer Gallery, 2005, 4pp with indert
Ref: 139

Cajic Muamerview full entry

Reference: exhibited with Wallspace Gallery, Surry Hills, Sydney, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Bunter Roderickview full entry

Reference: exhibited with Richard Martin, Sydney, 2005. Catalogue includes biographical information.
Publishing details: Richard Martin, Sydney, 2005
Ref: 1000

Brennan Angelaview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Boggs Peterview full entry

Reference: exhibited with Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Barter Kimview full entry

Reference: exhibited at Libby Edwards Gallery, 2004, invite has brief biographical details.
Ref: 139

Betts Heatherview full entry

Reference: exhibited with Mahoneys Gallery, Melbourne, May-June, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Christmann Gunterview full entry

Reference: exhibited with Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Gumana Malalubaview full entry

Reference: exhibited with Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Tumbers Matthewview full entry

Reference: exhibited with Sherman Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Piccinini Patriciaview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Arnold Rayview full entry

Reference: exhibited with Australian Galleries, Sydney, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Ackland Margaretview full entry

Reference: exhibited at Wagner Galleries, 2004. Media Release with biographical information.
Publishing details: Wagner Galleries, 2004
Ref: 139

Corbett Jamesview full entry

Reference: exhibited at Michael Commerford Gallery, 2001 (?) Catalogue has biographical information,
Publishing details: Commerford Gallery, 2001 (?)
Ref: 139

Coventry Virginiaview full entry

Reference: exhibited with Watters Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Chapman Gayeview full entry

Reference: exhibited with Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Merrett Laraview full entry

Reference: exhibited at Kalman Gallery, Sydney, 2009. Catalogue has biographical information,
Publishing details: Kalman Gallery, Sydney, 2009.
Ref: 139

Armanious Hanyview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2004.
Publishing details: catalogue details to be located.
Ref: 1000

Foley Fionaview full entry

Reference: exhibited with Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Foley Fionaview full entry

Reference: Fiona Foley. Nulla 4 eva, Niagara Galleries exhibition, 2009, illustrated. Essay by Djon Mundine.
Publishing details: Melbourne : Niagara Publishing, 2009. Quarto, illustrated wrappers, pp. 20,

Ref: 1000

Perceval Celiaview full entry

Reference: exhibited with Wagner Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Egan Melissaview full entry

Reference: exhibited with Wagner Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Worrall Mikeview full entry

Reference: exhibited with Wagner Gallery, 2004, press release for exhibition.
Ref: 139

Hodgkinson Frank 1919-2001view full entry

Reference: exhibited with Wagner Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Poncar Jaroview full entry

Reference: exhibited with Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Schmeisser Jorgview full entry

Reference: exhibited with Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Auricchio Moniqueview full entry

Reference: exhibited with Australian Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Brennan Angelaview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Kristensen Annaview full entry

Reference: exhibited with Locksmith Projects Space, Alexandria, NSW, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Macdougall Maryview full entry

Reference: exhibited with Locksmith Projects Space, Alexandria, NSW, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Heng Euanview full entry

Reference: exhibited with Niagara Galleries, 20908
Publishing details: catalogue details to be located.
Ref: 1000

Sealey Kaseyview full entry

Reference: exhibited with Cook’s Hill Gallery, 2007. Invite and press release with some biographical information. 7 illustrations.
Publishing details: Cook’s Hill Gallery, 2007
Ref: 139

Meilak Seanview full entry

Reference: exhibited with Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Sealey Kaseyview full entry

Reference: exhibited with Cook’s Hill Gallery, 2007. Invite and press release with some biographical information. 7 illustrations.
Publishing details: Cook’s Hill Gallery, 2007
Ref: 139

Tipoti Alickview full entry

Reference: exhibited with United Galleries, 2008, Invite with biographical information.
Publishing details: United Galleries, 2008, Invite, 4pp
Ref: 139

Howard Thereseview full entry

Reference: exhibited with Sullivan + Strumpf, 2006, invite with biographical information inserted.
Publishing details: Sullivan + Strumpf, 2006, 4pp invite
Ref: 139

Gorton Mariaview full entry

Reference: exhibited Mary Place Gallery, Sydney, 2008 (?)
Publishing details: Mary Place Gallery, Sydney, 2008 (?)
Ref: 139

Poynton Louview full entry

Reference: exhibited Mary Place Gallery, Sydney, 2008 (?)
Publishing details: Mary Place Gallery, Sydney, 2008 (?)
Ref: 1000

Healey Alanview full entry

Reference: exhibited Mary Place Gallery, Sydney, 2008 (?)
Publishing details: Mary Place Gallery, Sydney, 2008 (?)
Ref: 1000

Dixon Mazview full entry

Reference: exhibited Mary Place Gallery, Sydney, 2008 (?)
Publishing details: Mary Place Gallery, Sydney, 2008 (?)
Ref: 1000

Backen Robynview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Bowen Deanview full entry

Reference: exhibited with Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Armanious Hanyview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Iggulden Annetteview full entry

Reference: exhibited with Legge Gallery, 2004, invite with artist’s statement.
Ref: 139

Arnold Rayview full entry

Reference: exhibited with Australian Galleries, Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Arrisueno Ernestoview full entry

Reference: exhibited with Wagner Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Hopkinson-Pointer Kateview full entry

Reference: exhibited with Alta Gallery, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Fairweather Michaelview full entry

Reference: exhibited with Alta Gallery, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Ackland Margaretview full entry

Reference: exhibited at Wagner Galleries, 2002. Media Release with biographical information.
Publishing details: Wagner Galleries, 2002
Ref: 139

Bruggisser Stefanview full entry

Reference: exhibited with John Gordon Gallery, Coffs Harbour, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Bolton Reneview full entry

Reference: exhibited with Michael Nagy Fine Art, Sydney,, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Ashcroft Vanessaview full entry

Reference: exhibited with Harris Courtin Gallery, Paddington, NSW, 2001, invite and media release with some biographical information.
Ref: 139

Acosta Claudeview full entry

Reference: exhibited with Quadrivium, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Belfrage Clareview full entry

Reference: exhibited with Quadrivium, Sydney, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Atyeo Sam 1910-1990view full entry

Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Arrisueno Ernestoview full entry

Reference: exhibited with Wagner Galleries, 2001, invite and press release with biograhical information.
Ref: 139

Brennan Angelaview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Walker Liddyview full entry

Reference: exhibition at United Galleries, Sydney, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Pwerle Emilyview full entry

Reference: exhibition at United Galleries, Sydney, 2008
Publishing details: catalogue details to be located.
Ref: 1000

McCarthy Helenview full entry

Reference: exhibition at United Galleries, Sydney, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Taylor Neilview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Allen Timview full entry

Reference: exhibition at BBA Gallery, Sydney, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Ivanovic Laraview full entry

Reference: exhibited with Harris Courtin Gallery, Paddington, NSW, 2001, invite with some biographical information.
Ref: 139

Bailey Brettview full entry

Reference: exhibition at Campbelltown City Bicentennial Art Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Batt Terryview full entry

Reference: exhibition at Michael Nagy Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Baker Denisview full entry

Reference: exhibition at Baker Galleries, Paddington, NSW, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Townsend graemeview full entry

Reference: ‘Ewe Balance’, exhibition at Christopher Day Gallery, Paddington, NSW, 2008, invite with 19 illustrations
Ref: 139

Basser Nanetteview full entry

Reference: exhibition at Istral Gallery, Sydney,2001
Publishing details: catalogue details to be located.
Ref: 1000

Diamond Elaineview full entry

Reference: exhibition at Istral Gallery, Sydney,2001
Publishing details: catalogue details to be located.
Ref: 1000

Abbott Angelaview full entry

Reference: exhibition at Eva Bruer Gallery, 2003, press release and invite.
Ref: 139

Butterworth Daniel and Matthewview full entry

Reference: exhibition at Span Galleries, Melbourne, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Archer Suzanneview full entry

Reference: Horses for Courses, exhibition at War Memmorial Art Gallery, University of Sydney, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Boag Ynonneview full entry

Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Buselli Anthonyview full entry

Reference: Wooden Constructions, exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Bowen Deanview full entry

Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Adair Kellyview full entry

Reference: exhibition at Libby Edwards Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Akerman Crispinview full entry

Reference: exhibited with Gallery 460, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Armanious Hanyview full entry

Reference: exhibited with Roslyn Oxley9 Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Anthill Kieranview full entry

Reference: exhibition at Global Gallery, 2005?
Publishing details: catalogue details to be located.
Ref: 1000

Brennan Angelaview full entry

Reference: exhibition at Roslyn Oxley9 Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Burnham Shellyview full entry

Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Westmoreland Braddview full entry

Reference: exhibition at Niagara Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Tabacco Wilmaview full entry

Reference: Wilma Tabacco exhibition at Niagara Galleries, 2009
Publishing details: Melbourne : Niagara Galleries, 2009. Quarto, illustrated wrappers, pp. [32], illustrated. Invitation card included.
Ref: 1000

Young Brentview full entry

Reference: exhibition at John Gordon Gallery, Coffs Harbour, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Eggert Annaview full entry

Reference: sculpture exhibition at Barry Stern Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Atkins Rosalindview full entry

Reference: exhibition at Australian Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Keighery Michaelview full entry

Reference: Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp
Ref: 139

Keighery Michaelview full entry

Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp

Heinrich Bernd & Ross Thorntonview full entry

Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp

Thornton Ross & Bernd Heinrichview full entry

Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp

Kay Hannaview full entry

Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp

Dongwang Fanview full entry

Reference: see Winter/Spring 2009 exhibition at Wilson Street Gallery, Newtown. NSW, 2009, Catalogue includes biographical information on artosts.
Publishing details: Wilson Street Gallery, Newtown. NSW, 2009, 25pp

Pool Gabrielleview full entry

Reference: exhibition at Brenda Colahan Fine Art and Mandela Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Noakes Reginaview full entry

Reference: exhibition at Libby Edwards Gallery, 2004? invite with biographical information
Ref: 139

Backen Robynview full entry

Reference: Verge in Rain, exhibition at Art Gallery of NSW, 1995.
Publishing details: catalogue details to be located.
Ref: 1000

Ropar Dennisview full entry

Reference: exhibition at United Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Valadon Rosemaryview full entry

Reference: exhibition at Eva Breuer Gallery, 2004, invite and press relase with biographical information.
Publishing details: Eva Breuer Gallery, 2004,
Ref: 139

Bennetts Shirleyview full entry

Reference: exhibition at Cooks Hill Gallery, Newcastle, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Foxtonfinn Deloresview full entry

Reference: exhibition at Cooks Hill Gallery, Newcastle, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Brownhall Robertview full entry

Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Adams Lisaview full entry

Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Seffrin Nickolausview full entry

Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Honeywill Johnview full entry

Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Anderson Peterview full entry

Reference: exhibition at Philip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Benwell Stephenview full entry

Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Bartley Johnview full entry

Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Bennett Andrewview full entry

Reference: Water and other illusions, exhibition at Gallery 460, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Boston Paulview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Batt Terryview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Meilak Seanview full entry

Reference: exhibition at Kaliman Gllery, Sydney, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Bratanoff Jean-Pierreview full entry

Reference: exhibition at Sara Roney Gallery, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Bathgate Rodview full entry

Reference: exhibition at Cooks Hill Gallery, Newcastle, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Bonato Victorview full entry

Reference: exhibition at 2 Danks Street Gallery, 2005, 46 exhibits.
Publishing details: catalogue details to be located.
Ref: 1000

Butler Emmaview full entry

Reference: exhibition at Chalkhorse Gallery, Surry Hills, Sydney, i-page biography, 2008
Publishing details: Chalkhorse Gallery, Surry Hills, Sydney, i-page biography, 2008
Ref: 139

Binns Fergusview full entry

Reference: exhibition at Chalkhorse Gallery, Surry Hills, Sydney,, 2008
Publishing details: Chalkhorse Gallery, Surry Hills, Sydney, 2008
Ref: 1000

Ciccarone Juliaview full entry

Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Browne Andrewview full entry

Reference: exhibition at Gould Contemporary, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Crisp Peterview full entry

Reference: exhibition at Tim Goodman Fine Art Warehouse, Double Bay, NSW, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Purves Michelleview full entry

Reference: exhibition at Tim Goodman Fine Art Warehouse, Double Bay, NSW, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Dawson Janeview full entry

Reference: New Sculptures, exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Black Belindaview full entry

Reference: Floral watercolours, exhibition at 43 Lavender Street, Lavender bay, NSW, November 9 - November 18, 20--? (no year)
Publishing details: catalogue details to be located.
Ref: 1000

Gordon James view full entry

Reference: Insects and Eucalypts, exhibition at 43 Lavender Street, Lavender bay, NSW, November 9 - November 18, 20--? (no year)
Publishing details: catalogue details to be located.
Ref: 1000

Summers Angieview full entry

Reference: Flowers, exhibition at 43 Lavender Street, Lavender bay, NSW, November 9 - November 18, 20--? (no year)
Publishing details: catalogue details to be located.
Ref: 1000

Douglass Markview full entry

Reference: exhibition at Gould Contemporary, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Cerins Juris b1967 Latviaview full entry

Reference: exhibition at Disegno Gallery, Melbourne, 2002, invite has brief biographical information.
Publishing details: catalogue details to be located.
Ref: 139

Christmann Gunterview full entry

Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Christmann Gunterview full entry

Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Boyd Arthur view full entry

Reference: The Bride, exhibition at Gould Contemporary, 2001. 18 paintings in the series.
Publishing details: catalogue details to be located.
Ref: 1000

Boyd Cassandra view full entry

Reference: exhibition at Wagner Art Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Clarke Denisview full entry

Reference: exhibition at Polly Courtin Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Crouch Adrienneview full entry

Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Capper Chrisview full entry

Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Chen Phillipview full entry

Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Caughlan Robynview full entry

Reference: exhibition at Serendipity Gallery, Katoomba, NSW, 20092
Publishing details: catalogue details to be located.
Ref: 1000

Courtin Pollyview full entry

Reference: solo exhibition at Polly Courtin Gallery, Sydney, 2001, press release and invite.
Publishing details: Polly Courtin Gallery, Sydney, 2001,
Ref: 139

Chen Zhongview full entry

Reference: exhibition at Eva Breuer Gallery, 2001,
Publishing details: catalogue details to be located.
Ref: 1000

Cassab Judyview full entry

Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Cameron Phyllidaview full entry

Reference: solo exhibition at Polly Courtin Gallery, Sydney, 2001, press release and invite.
Publishing details: Polly Courtin Gallery, Sydney, 2001,
Ref: 139

Baines Andrewview full entry

Reference: exhibition at RBG Gallery, Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Blabey Aaronview full entry

Reference: exhibition at Maree Mizon Gallery. Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Batt Terryview full entry

Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Bridgewater Robertview full entry

Reference: exhibition at Niagara Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Bush Stephenview full entry

Reference: exhibition at John Gordon Gallery, Coffs Harbour, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Shirvington Patrickview full entry

Reference: exhibition at Wagner Gallery, Sydney, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Shirvington Patrickview full entry

Reference: exhibition at Wagner Gallery, Sydney, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Browell Andrew photographerview full entry

Reference: The Waterfront 2, exhibition at Josef Lebovic Gallery, artist statement and 18 illustrations
Publishing details: Josef Lebovic Gallery, nd, c2008? 4pp
Ref: 139

Bang Min Wooview full entry

Reference: exhibition at TAP Gallery, Sydney, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Crook Rayview full entry

Reference: History of Love Part 1, exhibition at BBA Gallery, Sydney, 2001 with essay by Timothy Morell
Publishing details: BBA Gallery, Sydney, 2001
Ref: 139

Intersections of Art & Scienceview full entry

Reference: Intersections of Art & Science, exhibition at COFA, Sydney, 2001 [to be indexed]
Publishing details: COFA, Sydney, 2001
Ref: 1000

Baka Peterview full entry

Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Bowen Deanview full entry

Reference: The big little men, exhibition at Arts D’Australie, Paris, 2001, invite includes very brief biography
Publishing details: Arts D’Australie, Paris, 2001, 4pp
Ref: 139

Bramley-Moore Mostynview full entry

Reference: exhibition at Watters Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Browne Andrewview full entry

Reference: exhibition at Gould Contemporary, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Wei Guanview full entry

Reference: exhibition at Sherman Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Douglass Markview full entry

Reference: exhibition at Gould Contemporary, Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Sealey Dougview full entry

Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Diamond Jenniferview full entry

Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, NSW, in 2001
Publishing details: catalogue details to be located.
Ref: 1000

Daunt Nicholasview full entry

Reference: exhibition at Libby Edwards Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Medail Contessa Patriziaview full entry

Reference: exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Roden Raphaellaview full entry

Reference: exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Bott G Wview full entry

Reference: exhibition at Barry Stern Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Brown Martinview full entry

Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Byrnes Aubrey Jamesview full entry

Reference: exhibition at Wallspace Gallery, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Bergstrom Danelleview full entry

Reference: exhibition at rex-livingston art dealer, Surry Hills, NSW, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Burton Nicholasview full entry

Reference: exhibition at Libby Edwards Gallery at South Yarra Gallery, c2004
Publishing details: catalogue details to be located.
Ref: 1000

Boyd Lynneview full entry

Reference: exhibition at Brian Moore Gallery, Sydney, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Bilyk Zibview full entry

Reference: exhibition at Roney Galleries, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Caughlan Robynview full entry

Reference: exhibition at Bondi Pavillion Gallery, 2001, invite with brief biography on this Indigenous artist.
Publishing details: Bondi Pavillion Gallery, 2001
Ref: 139

Chadwick Tonyview full entry

Reference: Drawings, exhibition at Brian Moore Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Tan Yifengview full entry

Reference: Sculpture, exhibition at Paddington Contemporary Fine Art, Sydney, 23 July - 10 August (no year - c2008?)
Publishing details: catalogue details to be located.
Ref: 1000

Lindsay Norman view full entry

Reference: Norman Lindsay - Artful cats, introduced by Meg Stewart
Publishing details: Odana Editions, 2001, hc, 144pp
Ref: 1009

Sinozich Gina view full entry

Reference: exhibition at Liverpool Regional Museum, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Sharp Peterview full entry

Reference: Spider
Publishing details: Liverpool Street Gallery, 2007
Ref: 1000

Hart Proview full entry

Reference: Works on Paper by Pro Hart, exhibition at Phillips Fine Art
Publishing details: Phillips Fine Art, 2004
Ref: 1000

Schaller Markview full entry

Reference: Tim Olsen Gallery
Publishing details: 2001
Ref: 1000

Molnar George 1910-1998view full entry

Reference: Statues by George Molnar

Publishing details: [London] : Phoenix House, 1954
Ref: 1000

Molnar George 1910-1998view full entry

Reference: Human scale in architecture : George Molnar's Sydney / Jo Holder, Robert Freestone, Joan Kerr. Includes index.
Bibliography: p. 144-148.

Publishing details: Craftsman House, c2003, 152 p. : ill., port. (hardback)

Ref: 1000

Molnar Georgeview full entry

Reference: Insubstantial pageant / by George Molnar
by Molnar, George, 1910-1998

Publishing details: Sydney : Angus & Robertson, [1959]

Ref: 1000

Molnar Georgeview full entry

Reference: Molnar, 1970-1976 : a collection of cartoons from the Sydney Morning Herald
by Molnar, George, 1910-1998

Publishing details: [Sydney] : John Fairfax & Sons, 1976
Ref: 1000

Molnar Georgeview full entry

Reference: Postcards
by Molnar, George, 1910-1998

Publishing details: [Sydney] : Angus and Robertson, [1961]
Ref: 1000

Molnar Georgeview full entry

Reference: see The more things change [electronic resource] : the relevance of Molnar today / Shirely Fitzgerald
by Fitzgerald, Shirley, 1949-

Publishing details: [Sydney, NSW] : [Sydney City Council?], [2001?]

Molnar Georgeview full entry

Reference: Sydney observed / by Gavin Souter [and] George Molnar

Publishing details: [Sydney] : Angus and Robertson, [1968]
Ref: 1000

Molnar Georgeview full entry

Reference: Statues : and more statues by George Molnar

Publishing details: Potts Point, N.S.W. : Duffy & Snellgrove, 2000

Central Street Liveview full entry

Reference: Central Street Live, exhibition about the Central Street Gallery, Sydney, launched by Paul McGillick
Publishing details: Macquarie University Art Gallery, 2003. And at Penrith Regional Gallery.
Ref: 1000

Stringer Terry NZ sculptorview full entry

Reference: exhibition at Robin Gibson Galleries, 2002, with essay
Publishing details: Robin Gibson Galleries, 2002, 7pp
Ref: 139

Lewitt Vivienne Sharkview full entry

Reference: Ros Oxley9 Gallery catalogue
Publishing details: 2001
Ref: 1000

Wei Guanview full entry

Reference: exhibition at Sherman Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Rush Edview full entry

Reference: see University of Newcastle Gallery, Australia, exhibition catalogue essay: The art of Ed Rush yields its true meaning after prolonged viewing. Rush layers his paintings. One surface is put down over another in order to develop depth of colour and an underlying structure. He says that he likes “structure”, particularly one that knits composite elements into something whole. At first glance, the individual shapes and marks of the final surface are more visible. Then, after a while, the ‘knitted whole’ comes into view.
Textiles appeal to Rush and it seems that he approaches his work as if he were threading skeins of paint. His interest in all things woven and interlaced might reveal something about his temperament. It suggests sensitivity to the tenuousness of things and to the binaries that lightly hold them together: to the separate and peculiar fragment, and also the larger, patterned order; to the weight and density of a surface, and also its porosity. Indeed, Rush’s layered surfaces always retain a porous quality. Gaps and transparencies lead us deep into the painting.
Rush lives on a small hill in a remote valley. After looking at the paintings in the studio one becomes attuned to the passing phenomena outside: one last shard of light illuminating a hillside, a twilit cloud, the deepening blue of the Barringtons. What is apparent is the way the steepness of the valley frames and amplifies the impressions of these phenomena. It provides a circumscribed structure over which all these changes pass. Sitting on its hill, Rush’s house is like a watchtower. It is easy to see why this place appeals to him. It is its vantage point, the particular way of looking it solicits. There is a clear view of the geological whole and also of the elemental, the atmospheric and the ephemeral coursing through it.
Rush says that his paintings are not about landscape, although a title such as “From the Veranda: Forecast Turbulence” invites us to at least consider it. He has commented on the changing colours of the grass and the scorched patterns left on the hills after back-burn. These observations enter his paintings not as descriptions of place but as metaphors for something larger. They become metaphors for the largeness of life, the splendour of its surface impressions and the structure of its shifting and rarely definable understory – the dense weave of our being.
Scott Millington (artist), August 2012’]
Publishing details: University of Newcastle Gallery, 2012

Rush Edview full entry

Reference: exhibition at Brian Moore Gallery, Sydney, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Rish Adamview full entry

Reference: Adam Rish : Michael Nagy Gallery exhibition, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Plapp Jonview full entry

Reference: Pale Coherences, Watters Gallery,2001,
Publishing details: catalogue details to be located.
Ref: 1000

Varvaressos Vickiview full entry

Reference: Watters Gallery catalogue, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Mombassa Regview full entry

Reference: Reg Mombassa exhibition at Watters Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Namok Rosellaview full entry

Reference: Niagara Galleries, 2006
Publishing details: catalogue details to be located.

Nellview full entry

Reference: Ros Oxley9 catalogue, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Platten Anna view full entry

Reference: Anna Platten 1994-2006 : exhibition at Eva Breuer Gallery. 2006
Publishing details: catalogue details to be located.
Ref: 1000

Meilak Seanview full entry

Reference: exhibition at Kaliman Gllery, Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Abbott Douglassview full entry

Reference: see Shannon's Fine Art Auctioneers, USA, 21 June, 2019, lot 85. DOUGLASS ABBOTT, Australian (b. 1948), Pair of Landscapes,watercolor on paper, 13 x 18 inches, signed lower right "Douglas.Abbott." Central Australian watercolours.,

Quadrivium Galleryview full entry

Reference: Quadrivium Gallery, 2-50 Gallery Level 2 Queen Victoria Building, Sydney, operated from 1996 until? specialising in works by Australian glass makers. see brochure ‘glass art in Australia, 12-page brochure with illustrations of works by about 30 artists. All Quadrivium Gallery catalogues to be indexed.
Ref: 139

glass artistsview full entry

Reference: see Quadrivium Gallery, 2-50 Gallery Level 2 Queen Victoria Building, Sydney, operated from 1996 until? specialising in works by Australian glass makers. see brochure ‘glass art in Australia, 12-page brochure with illustrations of works by about 30 artists. All Quadrivium Gallery catalogues to be indexed.

Mount Nick glass artistview full entry

Reference: exhibition at Quadrivium Gallery, Oct-Nov 2001
Publishing details: catalogue details to be located.
Ref: 1000

Milliss Davidview full entry

Reference: exhibition at Harris Courtin Gallery 2001
Publishing details: catalogue details to be located.
Ref: 1000

McVinish Cristopherview full entry

Reference: exhibition at Gallery 460, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Robertson Kelvinview full entry

Reference: exhibition at Icon Gallery 2004
Publishing details: catalogue details to be located.
Ref: 1000

Rigby Johnview full entry

Reference: exhibition at Wagner Gallery 2004 with biographical details
Publishing details: .
Ref: 139

Rowley Jannview full entry

Reference: exhibition at Libby Edwards Gallery 2003, with biographical details
Ref: 139

Richards Gordonview full entry

Reference: exhibition at Richard Martin Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Ritson Sarahview full entry

Reference: exhibition at Glen Eira City Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Reichelt Victoriaview full entry

Reference: exhibition at John Gordon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Ross Anne sculptureview full entry

Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Park Yeonjooview full entry

Reference: exhibition at Span Galleries, Melbourne, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Pekel Hermanview full entry

Reference: exhibition at Mahoneys Galleries, Melbourne, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Price Terry-Pauline view full entry

Reference: exhibition at Maree Mizon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Priddle Tonyview full entry

Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Popov Mika Utzonview full entry

Reference: exhibition at Australian Galleries, 2006, with biographical details
Ref: 139

Tippett Pamview full entry

Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Tuckwell Louiseview full entry

Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Turner Kateview full entry

Reference: exhibition at Liverpool Street Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Thorpe Mackenzieview full entry

Reference: exhibition at Fishers Fine Art, Trevor Victor Harvey gallery and Gullotti Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Perceval Celiaview full entry

Reference: exhibition at Wagner Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Twigden Blakeview full entry

Reference: exhibition at Cooks Hill Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Preston Davidview full entry

Reference: exhibition at Wagner Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Preston Davidview full entry

Reference: exhibition at Wagner Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Taylor Fraserview full entry

Reference: exhibition at Tim Olsen Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

McGuire Mandyview full entry

Reference: exhibition at The Private Gallery, Surry Hills, NSW, c2003? Noosa artist.
Publishing details: catalogue details to be located.
Ref: 1000

Hoberman Nickyview full entry

Reference: exhibition at Gould Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Waddell Craigview full entry

Reference: exhibition at 2 Danks Street Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000

Martinez Luisview full entry

Reference: exhibition at Wallspace Gallery, c2005
Publishing details: catalogue details to be located.
Ref: 1000

Marr Stephenview full entry

Reference: exhibition at Wallspace Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Goodwolf Nicolasview full entry

Reference: exhibition at Port Jackson Press Print Room, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Wadsworth Elizabethview full entry

Reference: exhibition at Libby Edwards Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

White Sheilaview full entry

Reference: exhibition at Harris Courtin Gallery, 2000
Publishing details: catalogue details to be located.
Ref: 1000

Miralis Spiroview full entry

Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Matsuzawa Yukoview full entry

Reference: exhibition at Wallspace Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Middlebrook Davidview full entry

Reference: exhibition at Holdsworth Gallery, 1996, invite card with biographical details
Ref: 139

McLean Simonview full entry

Reference: exhibition at Libby Edwards Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Maitland Johnview full entry

Reference: exhibition at Cooks Hill Galleries, 2004, with biographical details
Ref: 139

Timmins Warrickview full entry

Reference: exhibition at Cooks Hill Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

McCarroll Kristineview full entry

Reference: exhibition at SAUC, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Muktananda Albert Hempel b1971view full entry

Reference: exhibition at Tap Gallery, 2004, invite card with biographical details
Ref: 139

Murray Kendallview full entry

Reference: exhibition at 2 Danks Street, Waterloo, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Maxwell Grantview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Oldfield Alanview full entry

Reference: exhibition at Robin Gibson Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Nelson Kimview full entry

Reference: exhibition at United Galleries, 2008,
Publishing details: catalogue details to be located.
Ref: 1000

Nothling Stephenview full entry

Reference: exhibition at Eva Breuer Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Moore T Vview full entry

Reference: exhibition at Ros Oxley9 Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Mason Taniaview full entry

Reference: exhibition at Australian Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Williams Deborahview full entry

Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

McVinish Christopherview full entry

Reference: exhibition at Mahoneys Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Morgan Shelaghview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

McDonald Sarahview full entry

Reference: exhibition at Maree Mizon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Moffatt Brettview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

van der Kerkhoff Andreview full entry

Reference: exhibition at Marlene Antico Fine Arts, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Nafisi Naomiview full entry

Reference: exhibition at The Depot Gallery, 2004, invite card with biographical details
Ref: 139

Nolan Mandyview full entry

Reference: exhibition at Michael Commerford Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Nothling Stephenview full entry

Reference: exhibition at Eva Breuer Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Nickolls Louview full entry

Reference: exhibition at Cooks Hill Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Walters Rhondaview full entry

Reference: exhibition at Cooks Hill Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Worrall Mikeview full entry

Reference: exhibition at Wagner Art Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Worrall Mikeview full entry

Reference: exhibition at Wagner Art Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

White Judithview full entry

Reference: exhibition at Wagner Art Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

White Judithview full entry

Reference: exhibition at Wagner Art Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Noakes Reginaview full entry

Reference: exhibition at Libby Edwards Galleries, 2002, invite card with biographical details
Ref: 139

Trevethan Merryn Jview full entry

Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Twigden Blakeview full entry

Reference: exhibition at Cooks Hill Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Tomlin Franview full entry

Reference: exhibition at Maree Mizon Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Theiring Johnview full entry

Reference: exhibition at Cooks Hill Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Theiring Johnview full entry

Reference: exhibition at Cooks Hill Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Procee Paulview full entry

Reference: exhibition at Eva Breuer Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Russell Deborahview full entry

Reference: exhibition at Tim Olsen Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Woodroffe Katyview full entry

Reference: exhibition at Barrack Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Winch Madeleineview full entry

Reference: Gallery 460 catalogue, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Bancroft Bronwynview full entry

Reference: exhibition at BBA Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Nelson Kimview full entry

Reference: exhibition at Gig Gallery, Glebe, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Rees William Eview full entry

Reference: exhibition at Marlene Antico Fine Arts, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Uzur Brancaview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Uzur Brancaview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Nickolls Louview full entry

Reference: exhibition at Cooks Hill Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000

McDonald Meganview full entry

Reference: exhibition at Polly Courtin Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Archer Suzanneview full entry

Reference: exhibition at Wilson Street Gallery, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Keller Kay Singletonview full entry

Reference: exhibition at Michael Nagy Gallery, 2004, catalogue details to be located.
Ref: 139

Moffatt Brettview full entry

Reference: in three-person exhibition at Mary Place Gallery, Sydney, organised by Lyn Morey Edwards, 2007? opened by Colin Lanceley
Publishing details: catalogue details to be located.
Ref: 1000

Davis Meikeview full entry

Reference: in three-person exhibition at Mary Place Gallery, Sydney, organised by Lyn Morey Edwards, 2007? opened by Colin Lanceley
Publishing details: catalogue details to be located.
Ref: 1000

Haythornwaite Sophieview full entry

Reference: in three-person exhibition at Mary Place Gallery, Sydney, organised by Lyn Morey Edwards, 2007? opened by Colin Lanceley
Publishing details: catalogue details to be located.
Ref: 1000

Kuang Zaiview full entry

Reference: exhibition at Eva Breuer Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Kendall Yvonneview full entry

Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Kent Janeview full entry

Reference: exhibition at Span Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Lewis Jillview full entry

Reference: exhibition at Libby Edwards Galleries, Brisbane, , 2004
Publishing details: catalogue details to be located.
Ref: 1000

Latimer Bruceview full entry

Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Lopes Stephenview full entry

Reference: exhibition at Brian Moore Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Legge Jasperview full entry

Reference: exhibition at Watters Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Lewis Jillview full entry

Reference: exhibition at South Yarra Galleries, c2002
Publishing details: catalogue details to be located.
Ref: 1000

Lees Christopherview full entry

Reference: exhibition at Libby Edwards Galleries, Brisbane, , 2002
Publishing details: catalogue details to be located.
Ref: 1000

Lee Jenniferview full entry

Reference: exhibition at Liverpool Street Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Logan Andrewview full entry

Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Logue Joannaview full entry

Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Ling Songview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Law Ruthview full entry

Reference: exhibition at Arthouse Hotel, Dome Gallery, 2005, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Lewis Jillview full entry

Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Linegar Maxview full entry

Reference: exhibition at Dickerson Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Siebols Jeannetteview full entry

Reference: exhibition at Kudos Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

McDonald Tonyview full entry

Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Steinmann Heinzview full entry

Reference: exhibition at Wagner Art Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Steer Garyview full entry

Reference: exhibition at Icon Gallery, 693 South Dowling Street, East Redfern.200?
Publishing details: catalogue details to be located.
Ref: 1000

Lloyd Johnview full entry

Reference: exhibition at Maree Mizon Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Wright Melissaview full entry

Reference: exhibition at Maree Mizon Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Walsh Johnview full entry

Reference: exhibition at Gow Langsford Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Madigan Lisaview full entry

Reference: exhibition at Defina and Nancarrow, Enmore, Sydney 2004
Publishing details: catalogue details to be located.
Ref: 1000

McQueeney Peterview full entry

Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

McQueeney Peterview full entry

Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Morris Johnview full entry

Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

McGregor Alasdairview full entry

Reference: exhibition at Bungendore Wood Works Gallery Bloomfield Galleries, 2001, invite card with biographical details
Ref: 139

Marshall Helen 1912-1996view full entry

Reference: Helen Marshal 1912-1996, and her husband Philip Martin, to be exhibited concurrently at the Sir Herman Black Gallery, University of Sydney, exhibition to be opened by Richard King, formally director of Richard King Gallery, Woollomooloo.
Publishing details: Polly Courtin Gallery, 2001 [catalogue details to be entered]
Ref: 1000

Moy Patriciaview full entry

Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, Sydney, , 2001
Publishing details: catalogue details to be located.
Ref: 1000

Simpson Alisterview full entry

Reference: equine art exhibition at The Wentworth Gallery (Hotel), Sydney, 2002, with Mary Simpson still life and figurative artist
Publishing details: catalogue details to be located.
Ref: 1000

Simpson Maryview full entry

Reference: Alister Simpson equine art exhibition at The Wentworth Gallery (Hotel), Sydney, 2002, with Mary Simpson still life and figurative artist
Publishing details: catalogue details to be located.
Ref: 1000

Simpson Peterview full entry

Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Seelander Kerenview full entry

Reference: exhibition at Libby Edwards Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Spence Tomview full entry

Reference: exhibition at Barry Stern Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Strampp Adrianeview full entry

Reference: exhibition at Eva Breuer Art Dealer, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Strampp Adrianeview full entry

Reference: exhibition at Eva Breuer Art Dealer, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Sackville Pamview full entry

Reference: exhibition at Eva Breuer Art Dealer, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Sharp Peterview full entry

Reference: exhibition at Liverpool Street Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Sheridan Susanview full entry

Reference: exhibition at Wagnet Art Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Salmon Evanview full entry

Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Salmon Evanview full entry

Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Sullivan Lukeview full entry

Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Sheridan Susanview full entry

Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Spence Barbaraview full entry

Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Saaks Nadineview full entry

Reference: exhibition at The Private Gallery, 563 South Dowling Street, Surry Hills, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Sullivan Andrewview full entry

Reference: exhibition at Australian Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Roberts Brianview full entry

Reference: exhibition at Gallery 460, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Walker Liddy Napanangkaview full entry

Reference: exhibition at CDU Gallery, Charles Darwin University 2003
LIDDY NAPANANGKA WALKER
BORN: 1930
R E S I D E N C E : Yuendumu, Northern Territory, Australia
GROUP: Warlpiri
D R E A M I N G S : Warna (Snake), Kanta (Bloodwood Gall or Bush Coconut), Wardapi
(Goanna), Wakirlpirri (Acacia Seed), Karnta (Women), Ngalyipi (Snake Vine), Ngapa (Water/Rain), Puturlu (Mt. Theo), Wanakiji (Bush Tomato), Jarrada-Jarrayi (Dreaming Site).
EXHIBITIONS:
October 1985 Araluen Arts Centre, Alice Springs June 1986 Editions Gallery, Perth
October 1986
January 1987
March 1987
May 1987 Portsmouth Festival, England
August 1987 Reconnaissance Gallery, Melbourne September 1987 Chapman Gallery, Canberra December 1987 Opera House Gallery, Sydney February 1988 Lewis-Wara Gallery, Seattle, U.S.A. March 1988 Anima Gallery, Adelaide
March 1988 ‘Yuendumu: paintings out of the desert’, S.A. Museum May 1988 F.O.E. Community Art Space, Melbourne
June 1988 Coo-ee, Sydney
August 1988 Linden Gallery (St Kilda C.C.), Melbourne
R.S.A.S.A. Gallery, Adelaide Achille Lauro, Perth
Blaxland Gallery, Sydney
September 1988
November 1988
December 1988
December 1989
February 1989
May 1989 F.O.E. Community Art Space, Melbourne August 1989 Chesser Gallery, Adelaide
Dreamtime Gallery, Perth
Chapman Gallery, Canberra
F.O.E. Community Art Space, Melbourne
‘Windows on the Dreaming’, Australia National Gallery, Canberra Painters Gallery, Sydney
October 1989 F.O.E. Community Art Space, Melbourne November 1989 Hogarth Gallery of Dreams, Sydney
March 1990 South Australian Museum, Adelaide Arts Festival July 1990 Darwin Performing Arts Centre, Darwin
October 1990 Bond University Campus Gallery, Queensland December 1990 ‘Women’s Exhibition’, The Women’s Gallery, Melbourne March 1991 Araluen Arts Centre, Alice Springs
November 1991 Hogarth Gallery of Dreams, Sydney
March 1992 Dreamtime Gallery, Gold Coastity, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Nakamarra Bessie Sims view full entry

Reference: see Aboriginal Fine Art website:
Bessie Sims Nakamarra

Born: 1932
Died: 2012
State: NT
region: Tanami Desert
Community: Yuendumu
Language: Warlpiri
Social Affiliation: Nakamarra subsection

Subjects: Ngarlajiyi (Small Yam), Janganpa (Possum), Pamapardu (Flying Ant), Karntajarra (Two Women), Yarla (Bush Potato), Bush Plum (Mukaki).
Collections:
Artbank, Sydney.
Art Gallery of Western Australia, Perth.
National Gallery of Australia, Canberra.
National Gallery of Victoria, Melbourne.
Parliament House Art Collection, Canberra.
The Holmes a Court Collection, Perth.
The Kelton Foundation, Santa Monica, U.S.A.
Museum and Art Gallery of N.T.
Awards:
1988, South Australian Museum Mural; one of five artists.
Collection:
Aboriginal Art Museum, The Netherlands.
Art Gallery and Museum, Kelvingrove, Glasgow, Scotland.
Art Gallery of Western Australia, Perth.
Art Gallery and Museum, Kelvingrove, Glasgow, Scotland.
Australian Museum, Sydney.
Australian National Gallery, Canberra.
Department of Archaeology and Anthropology, Australian National University, Canberra.
Donald Kahn collection, Lowe Art Museum, University of Miami.
Flinders University Collection, Adelaide.
Gordon Darling Foundation, Canberra.
Museum and Art Gallery of the Northern Territory, Darwin.
National Gallery of Australia, Canberra.
Newmont Mining, USA.
South Australian Museum, Adelaide. Shell, USA.
Exhibitions:
2006-2007 - Gifted: Contemporary Aboriginal Art: The Mollie Gowing Acquisition Fund, Art Gallery of New South Wales
2006 - Open Doors, Aboriginal Art Museum, Utrecht, Netherlands.
2005 - Warlukurlangu Artists from Yuendumu, NT, Hogarth Galleries, Sydney; WAAA Collection, Flinders Museum, Adelaide, SA; Warlukurlangu Collection, Araluen Galleries, Alice Springs, NT; Jukurrpa Wiri - Important Dreaming Stories, Araluen Galleries, Alice Sprints, NT; Divas of the Desert, Gallery Gondwana, Alice Springs, NT; Recent Works, Short Street Gallery, Broome, WA; Luminous, Northern Editions, Charles Darwin University, Darwin, NT; Warlukurlangu Group Show, Beaver Gallery, Canberra, ACT; Desert Mob, Araluen Art and Cultural Centre, Alice Springs, NT; Land of Diversity, Hogarth Gallery, Sydney; Masterpieces of Aboriginal Art, Collectors' Exhibition, Flinders Lane Gallery, Melbourne.
2004 - Warlukurlangu Artists: Recent Works from Yuendumu, NT, Hogarth Galleries, Sydney; Kurruwarri Pipangka - Designs on Paper, CDU Gallery, Charles Darwin University, NT; Little Warlu, Big Stories, Hot Little Paintings by Big Artists of Yuendumu, Australia's NT and Outback Centre, Sydney; Dreaming Stories, Indigenart, Perth; New Works for Yuendumu, Bellas Gallery, Brisbane; Desert Mob, Araluen Centre, Alice Springs, NT.
2001 - 2002 - Land of Diversity, The Northern Territory, at Hogarth Galleries, Paddington
2000 - World Baptist Conference, Melbourne Exhibition Centre, Melbourne; Print exhibition, Bellas Gallery, Brisbane; Paintings and Prints, Northern Territory University, Darwin; Kurawari, Desart Gallery, Sydney; Hogarth Gallery, Sydney; Gallery Gabrielle Pizzi, Melbourne; Wayuta, The Desart Janganpa Gallery, Alice Springs; Marking the Paper, Desart Gallery, Sydney; L'art des Aborigenes d'Australie, Marie d' Allonnes, France; jangku yinyi, Carey Baptist Grammar School, Melbourne; Hot Press, Beaver Galleries, Canberra; Desert Mob Show, Araluen Centre for the Arts, Alice Springs
1999 - Desert Mob Show, Araluen Centre, Alice Springs; National Aboriginal and Torres Strait Islander Art Award, Museum and Art Gallery of the Northern Territory, Darwin; Mina Mina Show, Hogarth Gallery, Sydney; L'art des Aborigenes d'Australie, Theatre de Narbonnes France
1998 - Gallery Gabrielle Pizzi, Melbourne; Framed Gallery, Darwin; Desert Designs, W.A.; Bellas Gallery, Brisbane
1997 - Hogarth Gallery, Sydney; Hogarth Gallery, Sydney; Art Gallery NSW, Festival of the Dreaming,
1996 - World Vision, Sydney; Hogarth Gallery, Sydney
1995 - Kloosterkazerne, Breda; INMA Foundation, Amsterdam; Cultureel Centrum Berchem, Antwerp; Cleveland Centre for Contempoary Art, Cleveland, Ohio, U.S.A.
1994 - The Assembly Hall of the Territorial Parliament, Tahiti, French Polynesia; Interamerican Art Gallery, Miami, Florida, U.S.A.; Hogarth Gallery, Sydney; Hogarth Gallery of Dreams, Sydney; Chicago Art Fair, Chicago, U.S.A; Adelaide Town Hall, Adelaide (in conjunction with The Adelaide Festival); Dreamings - Tjukurrpa: Aboriginal Art of the Western Desert; The Donald Kahn collection, Museum Villa Stuck, Munich;
1994, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Desertracks, Westergasfabriek, Amsterdam
1993 - Sutton Gallery, Melbourne; CINAFE (Chicago International New Art Forms Exposition), U.S.A.; Bellas Gallery, Brisbane; Alice Prize Exhibition, Araleun, Alice Springs; Adelaide Town Hall, (in association with the Pacific Arts Symposium), Adelaide; Jukurrpa, Desert Dreamings - a survey of central desert art 1971- 1993, Art Gallery of Western Australia, Perth; Dreaming the World, St. Mungo's Museum, Glasgow; Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Aratjara, Hayward Gallery, London; Aratjara - Art Of The First Australians, Kunstsammlung Nordrhein Westfalen, Dusseldorf, Germany
1992, - Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs; Women's Gallery, Melbourne; The Long Gallery, Hobart; The Haven Gallery, Melbourne; Manyuku, Melbourne; Hogarth Gallery, Sydney; Dreamtime Gallery, Gold Coast; Chapman Gallery, Canberra; Alliance Francais, Canberra
1991 - The Womens Gallery, Melbourne; Hogarth Gallery of Dreams, Sydney; Darwin Performing Arts Centre, Darwin; Auckland City Art Gallery, Auckland, New Zealand; Araluen Arts Centre, Alice Springs; Araluen Arts Centre, Alice Springs; Albert Hall, Canberra; Te Whare Taonga o Aotearoa National Art Gallery & Museum, New Zealand; Australian Aboriginal Art from the Collection of Donald Kahn, Lowe Art Museum, University of Miami, USA;
1991, Central Australian Aboriginal Art and Craft Exhibition, Araluen Centre, Alice Springs
1990 - South Australian Museum Shop, Adelaide Festival; Arts Centre, Darwin; I.U.N.C. (showing at Hilton Hotel), Perth; Hogarth Gallery of Dreams, Sydney; F.O.E. Community Art Space, Melbourne; Women's Exhibition, The Women's Gallery, Melbourne; The Seventh National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin; National Aboriginal Art Award,
1989 - Hogarth Gallery of Dreams, Sydney; A Myriad of Dreaming: Twentieth Century Aboriginal Art, Westpac Gallery, Melbourne; Design Warehouse Sydney [through Lauraine Diggins Fine Art]; Victor Harbour Art Show, South Australia; F.O.E. Community Art Space, Melbourne; Chesser Gallery, Adelaide
1988 - Lewis-Wara Gallery, Seattle, U.S.A; Caz Gallery, Los Angeles, U.S.A.; The Inspired Dream, Life as art in Aboriginal Australia, Museum and Art Gallery of the Northern Territory and touring internationally; Hilton Hotel (Nadoc Week), Adelaide; F.O.E. Community Art Space, Melbourne; F.O.E. Community Art Space, Melbourne; Dreamtime Gallery, Perth; Bellas Gallery, Brisbane
1987 - Blaxland Gallery, Sydney; Achille Lauro, Perth; Yuendumu at the Opera House; Roar Gabrielle Pizzi, Melbourne; Opera House Gallery, Sydney; Chapman Gallery, Canberra
1986 - R.S.A.S.A. Gallery, Adelaide; Editions Gallery, Perth; Araluen Arts Centre, Alice Springs
Selected Bibliography:
Australian Aboriginal Art from the Collection of Donald Kahn, 1991, Lowe Art Museum, University of Miami, USA

Birnie Danzker, J. Dreamings. Tjukurrpa Aboriginal Art of the Western Desert The Donald Kahn
Collection, Prestel, Munich, New York,1994

Caruana, W Aboriginal Art, Thames and Hudson (World of Art),London, 1993

Diggins, L. (ed.) A Myriad of Dreaming Malakoff Fine Art Press, Melbourne, 1989

Johnstone, C (Dir) The Painted Dream: Contemporary Aboriginal Paintings From Tim And Vivien

Johnson Collection, Auckland City Art Gallery, Auckland New Zealand, 1990

Johnson, V., 1994, The Dictionary of Western Desert Artists, Craftsman House, East Roseville, New South Wales. (C)

O'Ferrall, M Jukurrpa Desert Dreamings - a survey of central desert art 1971 - 1993, Art Gallery of Western Australia, Perth, 1993

West, M. (ed.) The Inspired Dream, Queensland Art Gallery , Brisbane, 1988

Morphy, H. Aboriginal Art, Phaidon Press Limited, London, 1998

Morphy, H. and Boles, M.S. (eds.) Art from the land, University of Virginia Press, Virginia, U.S.A., 1999

Riley, M., 1988, Dreamings, video for Dreamings exhibition.

Preston Davidview full entry

Reference: exhibition at Wagner Art Gallery 2003
Publishing details: catalogue details to be located.
Ref: 1000

Pound Peterview full entry

Reference: exhibition at Wallspace Gallery 2007
Publishing details: catalogue details to be located.
Ref: 1000

Palmer-Arps Sharonview full entry

Reference: exhibition at Span Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Pwerle Angelinaview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Pekel Hermanview full entry

Reference: exhibition at Mahoneys Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Porm Simonview full entry

Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000

McVinish Christopherview full entry

Reference: exhibition at Mahoneys Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Egan Melissaview full entry

Reference: exhibited with Wagner Gallery, 2001, 2003 and 2004 and 2005, invites, etc, with biographical information
Ref: 139

Erlich Estherview full entry

Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Haggith Paul view full entry

Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Glassborow Steve sculptureview full entry

Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Field Jacquelinview full entry

Reference: exhibition at Tim Olsen Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Craig Alexview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Croke Jimview full entry

Reference: exhibition at Brenda May Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Doar Brianview full entry

Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Wadsworth Elizabethview full entry

Reference: exhibition at Libby Edwards Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Maitland Johnview full entry

Reference: exhibition at Cooks Hill Galleries, 2003, with biographical details
Ref: 139

Colvin Calumview full entry

Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Hensen Billview full entry

Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Manion Gerardview full entry

Reference: exhibition at Barry Stern Galleries, 200?
Publishing details: catalogue details to be located.
Ref: 1000

Wright Helenview full entry

Reference: exhibition at Niagara Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Wicks Arthurview full entry

Reference: exhibition at Michael Nagy Fine Art, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Tomlin Franview full entry

Reference: exhibition at Maree Mizon Gallery, 2004, invite with biographical information
Ref: 139

Wright Edwardview full entry

Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Xian Ah view full entry

Reference: exhibition at Powerhouse Museum, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Meijer Lotjeview full entry

Reference: exhibition at Barry Stern Galleries, 2002, invite with biography.
Ref: 139

Viney Wayneview full entry

Reference: exhibition at Port Jackson Press, 2006
Publishing details: catalogue details to be located.
Ref: 1000

White Fionaview full entry

Reference: exhibition at the Depot Gallery, 2 Danks Street, 20?? undated invite sighted.
Publishing details: catalogue details to be located.
Ref: 1000

White Fionaview full entry

Reference: from artist;’s website: Sydney-based artist, Fiona White's distinctive & vibrant character work manifested from an early age, her layered painting style reflecting the multi-faceted nature of her practice.A self-taught artist, Fiona's impressive command over a range of media, developed by experimenting with drawing cartoon cut outs from magazines & papers,which over time evolved into the intricate mixed media works she produces today.
White has been a finalist in many prestigious exhibitions & awards within Australia & Internationally, including START Art Fair Saatchi Gallery London, The Royal Academy Summer Exhibition, Sulman Prize, Mosman Art Prize, Portia Geach Memorial Award, Rick Amor Drawing Prize,Winner of The Manning Prize, Macarthur Cook Art Award, SCAP Art Prize & Blake Prize "Human Justice Award".Her work is included in the BHP Billiton Collection, Phillip Morris Collection & private collections in Australia, UK, USA, Italy & Hong Kong.

Wanambi Wukunview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Parekowhai Michaelview full entry

Reference: exhibition at Roslyn Oxley9 Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Pound Patrickview full entry

Reference: exhibition at Grant Pirrie Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

O’Doherty Peter view full entry

Reference: exhibition at Barry Stern Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Westphal Dirkview full entry

Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Forster Hendrikview full entry

Reference: exhibition at Wallspace Gallery 2007
Publishing details: catalogue details to be located.
Ref: 1000

Henry Belindaview full entry

Reference: exhibition at Richard Martin Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000

Harvey Stevenview full entry

Reference: exhibition at Liverpool Street Gallery 2008
Publishing details: catalogue details to be located.
Ref: 1000

Harvey Stevenview full entry

Reference: exhibition at Liverpool Street Gallery 2007
Publishing details: catalogue details to be located.
Ref: 1000

Watanabe Mikio mezzotintsview full entry

Reference: exhibition at Charles Hewitt Gallery 199?
Publishing details: catalogue details to be located.
Ref: 1000

Schkolnyk Laurent mezzotintsview full entry

Reference: exhibition at Charles Hewitt Gallery 199?
Publishing details: catalogue details to be located.
Ref: 1000

Hagerty Marieview full entry

Reference: exhibition at Tim Olsen Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Henry Belindaview full entry

Reference: exhibition at Libby Edwards Gallery 2002, invite card with biography
Publishing details: catalogue details to be located.
Ref: 1000

Hannah Eveview full entry

Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Harry Patview full entry

Reference: exhibition at Michael Carr Art Dealer, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Pratt Louisview full entry

Reference: exhibition at Australian Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Purcell Marisaview full entry

Reference: exhibition at Tim Olsen Gallery, 200?
Publishing details: catalogue details to be located.
Ref: 1000

Proud Geoffreyview full entry

Reference: exhibition at Gallery 460, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Omeenyo Fionaview full entry

Reference: exhibition at Niagara Galleries, 2007
Publishing details: catalogue details to be located.
Ref: 1000

May Anne-Marieview full entry

Reference: exhibition at Sarah Cottier Gallery, 1997, with brief biography
Publishing details: Sarah Cottier Gallery, 1997, 8pp
Ref: 139

Tosca Floriaview full entry

Reference: exhibition at Flinders Street, Gallery, 2009
Publishing details: catalogue details to be located.
Ref: 1000

Marr Stephenview full entry

Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Martinez Luizview full entry

Reference: exhibition at Wallspace Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Dawe Bryanview full entry

Reference: exhibition at Richard Martin Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000

Downton John Caryview full entry

Reference: landscape exhibition at Wentworth Gallery, Sydney, invite sighted, not dated.
Publishing details: catalogue details to be located.
Ref: 1000

Dixon Kwementyayview full entry

Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Carambano Conchitaview full entry

Reference: exhibition at Mahoneys Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Porch Debraview full entry

Reference: exhibition at Casula Powerhouse Arts CentreGalleries, 2003 with Noelene Lucas
Publishing details: catalogue details to be located.
Ref: 1000

Lucas Noelene view full entry

Reference: exhibition at Casula Powerhouse Arts CentreGalleries, 2003 with Debra Porch
Publishing details: catalogue details to be located.
Ref: 1000

McDougall Scottview full entry

Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Curtis Sybilview full entry

Reference: exhibition at Brenda May Gallery, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Carambano Conchitaview full entry

Reference: exhibition at Mahoneys Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Chen Zhongview full entry

Reference: exhibition at Eva Breuer Gallery, 2005, invite and press release
Ref: 139

Cowlishaw Edithview full entry

Reference: exhibition at Gallery 460, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Coburn Stephen sculptureview full entry

Reference: exhibition at Depot II Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Carr Hamishview full entry

Reference: exhibition at Span Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Cotton Judy, view full entry

Reference: exhibition at Wagner Art Gallery, 2005, invite with biography.
Ref: 139

Chonggang Duview full entry

Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Greenaune Janeview full entry

Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Carroll Patrickview full entry

Reference: exhibition at Wagner Art Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Cerretti Robynview full entry

Reference: exhibition at Counihan Gallery, Brunswick, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Crooke Rayview full entry

Reference: exhibition at Shapiro Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Ching-Bor Paulview full entry

Reference: biographical information printed from Art News, May 2002
Publishing details: Art News, May 2002
Ref: 139

Ching-Bor Paulview full entry

Reference: exhibition at Vistablue Contemporary Art Gallery, 2002
Publishing details: Art News, May 2002
Ref: 1000

Carey Russellview full entry

Reference: exhibition at Cutcliff Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Carmont Meganview full entry

Reference: exhibition at SAUC Gallery, 200?
Publishing details: catalogue details to be located.
Ref: 1000

Clark Peterview full entry

Reference: exhibition at Michael Carr Art Dealer, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Cusack Michaelview full entry

Reference: exhibition at Martin Browne, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Chambers Lucindaview full entry

Reference: exhibition at Maree Mizon Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Daunt Nicholasview full entry

Reference: exhibition at Libby Edwards Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Dunlop Sophieview full entry

Reference: exhibition at Eva Breuer art dealer, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Fulgence Anne-Franceview full entry

Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Fraser Cameronview full entry

Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Clack John Forresterview full entry

Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Fransella Grahamview full entry

Reference: exhibition at Port Jackson Press, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Gregg Garyview full entry

Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Foley Samview full entry

Reference: exhibition at Soho Galleries, Sydney, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Eastwood Davidview full entry

Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Griffin Caroleview full entry

Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Grech Louview full entry

Reference: exhibition at the Atrium, Hughenden Hotel, 2001?
Publishing details: catalogue details to be located.
Ref: 1000

Gentle Chrisview full entry

Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Glazier Vickiview full entry

Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Griffin Juliaview full entry

Reference: exhibition at Brian Moore Gallery, Sydney, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Gordon Jamesview full entry

Reference: exhibition at Tim Olsen Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Gilmore Guyview full entry

Reference: exhibition at Robin Gibson Gallery, Sydney, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Harvey Geoffview full entry

Reference: exhibition at Robin Gibson Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Humphreys Stuart photographyview full entry

Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Henry Belindaview full entry

Reference: exhibition at Libby Edwards Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Howson Nickview full entry

Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Hart Proview full entry

Reference: New Etchings, exhibition at Mahoneys Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Harrison David Mackayview full entry

Reference: exhibition at Cooks Hill Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Haggith Paul view full entry

Reference: exhibition at Cooks Hill Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Newell Harryview full entry

Reference: exhibition at Roslyn Oxley9 Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000

Gawne Markview full entry

Reference: exhibition at Libby Edwards Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Georgiadis Margaritaview full entry

Reference: exhibition at Maree Mizon Gallery, 2004, invite with biographical information.
Ref: 139

Georgiadis Margaritaview full entry

Reference: exhibition at Maree Mizon Gallery, 2005, invite with artist’s statement.
Ref: 139

Gregg Garyview full entry

Reference: exhibition at Depot ii Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Herford Michaelview full entry

Reference: exhibition at Volvo Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Gartside Malcolmview full entry

Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Harris Julieview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Guppy Jamesview full entry

Reference: exhibition at Brenda May Gallery, 2002, biographical information shee\t
Ref: 139

Kluge-Pott Herthaview full entry

Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

King Stephenview full entry

Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Ohana Yaeliview full entry

Reference: exhibition at Michael Nagy Fine Art, 2002
Publishing details: Michael Nagy Fine Art, 2002
Ref: 139

Hannah Eveview full entry

Reference: exhibition at Istral Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Haggith Paul view full entry

Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Hali Clara sculptureview full entry

Reference: exhibition at Stella Downer Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Harley Davidview full entry

Reference: exhibition at Michael Carr Art Dealer, 2002, invite with biographical information.
Publishing details: catalogue details to be located.
Ref: 1000

Shepherdson Gordonview full entry

Reference: exhibition at Phillip Bacon Galleries, 2009
Publishing details: catalogue details to be located.
Ref: 1000

He Huangview full entry

Reference: exhibition at Gallery 460, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Kusama Yayoiview full entry

Reference: exhibition at Roslyn Oxley9 Gallery, 2007
Publishing details: catalogue details to be located.
Ref: 1000

King Brianview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Namok Rosellaview full entry

Reference: exhibition at Hogarth Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Wojak Anaview full entry

Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

White Judithview full entry

Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Mason Taniaview full entry

Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Napangardi Lilly Kellyview full entry

Reference: exhibition at John Gordon Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Nyadbi Lenaview full entry

Reference: exhibition at Niagara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Willebrant Jamesview full entry

Reference: exhibition at Cooks Hill Gallery, 2004, invite with brief biographical details
Ref: 139

O’Connor Derekview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

O’Donnell Catherineview full entry

Reference: exhibition at Wallspace Gallery, 2006?
Publishing details: catalogue details to be located.
Ref: 1000

O’Doherty Ssanview full entry

Reference: exhibition at Barry Stern Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Veasey Beverleyview full entry

Reference: exhibition at Span Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Vozzo Vinceview full entry

Reference: exhibition at Michael Nagy Fine Art, 2002
Publishing details: catalogue details to be located.
Ref: 1000

O’Shaughnessy Maureenview full entry

Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Nickolls Louview full entry

Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Nivinson Angusview full entry

Reference: exhibition at BBA Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Nowlan Annabelview full entry

Reference: exhibition at Mary Place Gallery, Sydney, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Quilty Benview full entry

Reference: exhibition at Barry Stern Galleries, Sydney, undated invite sighted c2000?
Publishing details: catalogue details to be located.
Ref: 1000

Jones Paulview full entry

Reference: ‘Mad about the boy’, exhibition at Barry Stern Galleries, Sydney, undated invite sighted c2000?
Publishing details: catalogue details to be located.
Ref: 1000

Paisio Frankoview full entry

Reference: exhibition at Marlene Antico Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Richards Gordonview full entry

Reference: exhibition at Libby Edwards Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Orchard Ken 1981-2003view full entry

Reference: exhibition at UTS Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

van Heeren Judithview full entry

Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Phibbs Stephenview full entry

Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Perkins John FRASview full entry

Reference: exhibition at the Private Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Pratt Louisview full entry

Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Vella Deanview full entry

Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 1998
Publishing details: catalogue details to be located.
Ref: 1000

Papapetrou Polixeniview full entry

Reference: exhibition at Stills Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Cox Grahamview full entry

Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 2000
Publishing details: catalogue details to be located.
Ref: 1000

Mazzotti Gioranoview full entry

Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 2000
Publishing details: catalogue details to be located.
Ref: 1000

Ward Richard landscape architectureview full entry

Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, 1998
Publishing details: catalogue details to be located.
Ref: 1000

Jeroff Pallaview full entry

Reference: exhibition at Trevor Victor Harvey, fine art dealer, Burswood, c2000
Publishing details: catalogue details to be located.
Ref: 1000

Parr Martin UKview full entry

Reference: exhibition at Nigara Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Pevreall Jasonview full entry

Reference: exhibition at Willow Cafe, Bateman’s Bay, NSW, invite not dated, c2000
Publishing details: catalogue details to be located.
Ref: 1000

Pericles Leonview full entry

Reference: a folding 6-page brochure on the arist, includes sections on the Pericles Studio, Master Pritmaker, Printer and Books and Posters
Publishing details: printed by Pen & Paint, nd.
Ref: 139

O’Shaughnessy Maureenview full entry

Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Kim Nielsonview full entry

Reference: exhibition at ICON, 71 Union Street, North Sydney, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Porm Simonview full entry

Reference: exhibition at Michael Nagy Fine Art, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Raftopoulos Georgeview full entry

Reference: exhibition at Michael Carr Art Dealer, 2002, 6-page folding invite with biographical information.
Ref: 139

Ricardo Geoffreyview full entry

Reference: exhibition at Mahoneys Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Rambeau Marc b1945view full entry

Reference: exhibition at Quadrivium, QVB, Sydney, 2001, invite with biographical information.
Ref: 139

Rugge-Price Christianview full entry

Reference: exhibition at Maree Mizon Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Smith Laurieview full entry

Reference: exhibition at Span Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Ricardo Geoffreyview full entry

Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Renshaw Marcview full entry

Reference: exhibition at The Tub Art Gallery, Byron Bay, NSW, undated invite sighted, c2005?
Publishing details: catalogue details to be located.
Ref: 1000

Romeo Giuseppeview full entry

Reference: exhibition at Span Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Rugge-Price Christianview full entry

Reference: exhibition at Maree Mizon Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Smarzac Mariolaview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Sullivan Lukeview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Rogers Jamesview full entry

Reference: exhibition at Legge Gallery, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Watson Dianaview full entry

Reference: exhibition at Richard Martin Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Walters Rhondaview full entry

Reference: exhibition at Cooks Hill Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Brouet Michellview full entry

Reference: exhibition at Gallery 460, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Wood Berylview full entry

Reference: exhibition at Legge Gallery, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Walker Jakeview full entry

Reference: exhibition at James Dorahy Project, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Moss Damianview full entry

Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Mincham Jeffview full entry

Reference: exhibition at Sabbia Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Murphy Fionaview full entry

Reference: exhibition at Brian Moore Gallery, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Wilson Cooperview full entry

Reference: exhibition at Gallery hm, 2006
Publishing details: catalogue details to be located.
Ref: 1000

McDonald Tonyview full entry

Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Maitland Johnview full entry

Reference: exhibition at Cooks Hill Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Shepherdson Gordonview full entry

Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Strong Kenview full entry

Reference: exhibition at Cooks Hill Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Simpson Peterview full entry

Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Sullivan Lukeview full entry

Reference: exhibition at Brian Moore Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Sheridan Susanview full entry

Reference: exhibition at Wagner Art Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Seelander Kerenview full entry

Reference: exhibition at Mare Mizon Gallery, 2002, brief biography on invite
Ref: 139

Smarzak Mariolaview full entry

Reference: exhibition at Mary Place Gallery with Nicky Ginsberg art dealer, , 2001
Publishing details: catalogue details to be located.
Ref: 1000

Strampp Adrieneview full entry

Reference: exhibition at Eva Breuer Gallery 2005 with biography
Ref: 139

Smith Brendanview full entry

Reference: exhibition at Virginia Wilson Art, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Scott Jillview full entry

Reference: exhibition at Roslyn Oxley9 2003
Publishing details: catalogue details to be located.
Ref: 1000

Shanahan Rebeccaview full entry

Reference: exhibition at Span Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Sullivan Andrewview full entry

Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Serwan Peterview full entry

Reference: exhibition at Libby Edwards Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Shackman Maryview full entry

Reference: exhibition at Richard Martin Fine Art, , 2004
Publishing details: catalogue details to be located.
Ref: 1000

Sernack Zoeview full entry

Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Simpson Peterview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Strong Kenview full entry

Reference: exhibition at Cooks Hill Gallery, 2004, invite with brief biography
Ref: 139

Hall Benview full entry

Reference: exhibition at Wilson Street Gallery, Newtown, 2008,
Publishing details: catalogue details to be located.
Ref: 1000

Archer Suzanneview full entry

Reference: exhibition at Wilson Street Gallery, Newtown, 2009,
Publishing details: catalogue details to be located.
Ref: 1000

Collocott Michelleview full entry

Reference: exhibition at Wilson Street Gallery, Newtown, 2010,
Publishing details: catalogue details to be located.
Ref: 1000

Geier Helenview full entry

Reference: exhibition at Wilson Street Gallery, Newtown, 2010,
Publishing details: catalogue details to be located.
Ref: 1000

Johns Gregview full entry

Reference: exhibition at Robin Gibson Gallery, Newtown, 2001,
Publishing details: catalogue details to be located.
Ref: 1000

Jensen Shanview full entry

Reference: exhibition at Robin Gibson Gallery, Newtown, 2001,
Publishing details: catalogue details to be located.
Ref: 1000

James Stuartview full entry

Reference: exhibition at Australian Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Ivanyi Belaview full entry

Reference: exhibition at Gallery 460, 2002, 8-page illustrated invite with biography.
Ref: 139

Irving Tonyview full entry

Reference: exhibition at Eva Breuer Gallery 2004
Publishing details: catalogue details to be located.
Ref: 1000

Kendall Yvonneview full entry

Reference: exhibition at Niagara Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Kempson Michaelview full entry

Reference: exhibition at Michael Nagy Fine Art, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Kjar Barbieview full entry

Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Joseph Jenniferview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Fenikowski Adamview full entry

Reference: exhibition at Marlene Antico Fine Art, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Lees Christopherview full entry

Reference: exhibition at South Yarra Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Kelly Michaelview full entry

Reference: exhibition at Australian Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Ky Marineview full entry

Reference: exhibition at Australian Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Kruger Elisabethview full entry

Reference: exhibition at Eva Breuer Gallery 2005
Publishing details: catalogue details to be located.
Ref: 1000

van Heeren Judithview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Galo Miaview full entry

Reference: exhibition at Libby Edwards Galleries, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Grech Nicoleview full entry

Reference: exhibition at Mare Mizon Gallery, 2004,
Publishing details: catalogue details to be located.
Ref: 1000

Ginanneschi Isabellaview full entry

Reference: exhibition at Icon Gallery, c2004,
Publishing details: catalogue details to be located.
Ref: 1000

Lane Tonyview full entry

Reference: exhibition at Tim Olsen Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Kruger Elisabethview full entry

Reference: exhibition at Eva Breuer Gallery 2004
Publishing details: catalogue details to be located.
Ref: 1000

Klein Deborahview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Kreijn Maxview full entry

Reference: exhibition at Libby Edwards Galleries, 2004, invite with some biographical details and 10 illustrations, Malta Sries
Ref: 139

Kalabishis Ginaview full entry

Reference: exhibition at Counihan Gallery, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Lees Christopherview full entry

Reference: exhibition at Libby Edwards Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Lieberman Maxview full entry

Reference: exhibition at Robin Gibson Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Lewis Jillview full entry

Reference: exhibition at Libby Edwards Galleries, 2001
Publishing details: catalogue details to be located.
Ref: 1000

King Bryanview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Kolbusz Waldemarview full entry

Reference: exhibition at Axia Modern Art, 2008, invite with some biographical details and 6 illustrations,
Ref: 139

Golin Carloview full entry

Reference: exhibition at Libby Edwards Galleries, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Christmann Jenny and Gunterview full entry

Reference: exhibition at Liverpool Street Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Georgiadis Mararitaview full entry

Reference: exhibition at Mare Mizon Gallery, 2002, invite with some biographical information
Ref: 139

Griffen Peterview full entry

Reference: exhibition at Wagner Art Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Kosmas Alexview full entry

Reference: exhibition at Australian Galleries, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Joubert Sallyview full entry

Reference: exhibition at Istral Gallery, 2001
Publishing details: catalogue details to be located.
Ref: 1000

Henderson Bericview full entry

Reference: exhibition at Wallspace Gallery, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Kolbusz Waldemarview full entry

Reference: exhibition at Libby Edwards Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Kolbusz Waldemarview full entry

Reference: exhibition at Libby Edwards Galleries, 2003 invite with some biographical information
Ref: 139

Hoyle Annaview full entry

Reference: exhibition at Mossgreen Gallery, 2006, invite with biographical invitation
Ref: 139

Hagerty Marieview full entry

Reference: exhibition at Tim Olsen Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Henry Belyndaview full entry

Reference: exhibition at Libby Edwards Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Harris Julieview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Hempsall Ashview full entry

Reference: article on the artist from Australian Art Collector. April, 2004
Publishing details: Australian Art Collector. April, 2004
Ref: 139

Hinton Peta & Jumaadiview full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Jumaadi & Hinton Peta view full entry

Reference: exhibition at Legge Gallery, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Holcombe Robertview full entry

Reference: exhibition at Richard Martin Fine Art, 2004
Publishing details: catalogue details to be located.
Ref: 1000

Hannah Eveview full entry

Reference: exhibition at Istral Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

King Bryanview full entry

Reference: exhibition at Legge Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Keeling Anwenview full entry

Reference: exhibition at Brian Moore Gallery, 2003
Publishing details: catalogue details to be located.
Ref: 1000

He Huangview full entry

Reference: exhibition at Gallery 460, 2003
Publishing details: catalogue details to be located.
Ref: 1000

Hondros Despaview full entry

Reference: exhibition at Span Galleries, 2006
Publishing details: catalogue details to be located.
Ref: 1000

Kendall Yvonneview full entry

Reference: exhibition at Niagara Galleries, 2008
Publishing details: catalogue details to be located.
Ref: 1000

Henry Belyndaview full entry

Reference: exhibition at Gallery 460, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Holcombe Robertview full entry

Reference: exhibition at Richard Martin Fine Art, 2005
Publishing details: catalogue details to be located.
Ref: 1000

Kosmas Alexview full entry

Reference: exhibition at Australian Galleries, 2002
Publishing details: catalogue details to be located.
Ref: 1000

Keeler-Milne Jenniferview full entry

Reference: exhibition at Tim Olsen Gallery, 2003, catalogue with biographical information and 6 illustrations
Publishing details: Tim Olsen Gallery, 2003, 6pp and insert
Ref: 1000

McCredie John G (1912 -?)
view full entry

Reference: see Lawson’s auction, Fine Art - Sale 8773 - Lot 618, 27 June 2019,
John G McCredie (1912 -?)
Yacht 'Sirocco', off Fort Denisone
oil on canvas
59 x 74cm
signed lower right
Estimate $200-300

Elliott Murial Annie (1898 - 2005) view full entry

Reference: Murial Annie Elliott (1898 - 2005)
Mosman Bay, Sydney Harbour
see Lawson’s auction, Fine Art - Sale 8773, Lot 625, 27 June 2019, oil on board
37 x 44cm
signed lower left
Estimate $300-500

King Henryview full entry

Reference: Elephant folio, 37 x 27 x 6cm, with over 150 albumen photographs, including 4 Aboriginal portraits and one unknown group photograph of an extended Aboriginal family outside their gunyah c1880. While the usual elegant studies of Sydney Harbour, Mosman, and the Blue Mountains are all here, King has crossed out some variants like the Heads from George’s Battery 935, and 241 Wiseman’s Ferry. Notably good are Sydney St Steam Car, our earliest Light Rail, a large version of Circular Quay in action, and good examples of Maitland, Bundanoon and Newcastle. Information from Historic Photographs, Manuscripts, Maps and Books catalogue, Sydney Rare Book Auctions, June 29, 2019,
Ultimo, Australia
Ref: 1000

Olley Margaretview full entry

Reference: article in Spectum Magazine, Sydney Morning Herald, 15 June, 2019, p8ff. ‘My Friend MNargaret’ by Quentin Bryce.
Publishing details: copy filed inside Margaret Olley by Christine France in Scheding Library.

Tucker Albertview full entry

Reference: Albert Tucker - Images of Modern Evil by Geoffrey Smith. A Sotheby’s exhibition of 22 works.
[’Sotheby's Australia is honoured to present one of the most significant exhibitions by Albert Tucker ever held outside a public institution. Curated by Geoffrey Smith, Chairman of Sotheby's Australia, Albert Tucker: Images of Modern Evil reunites major compositions from a crucial and defining series within the history and development of Australian art.
>Buy hardcover catalogue
Drawn from the personal collection of Albert and Barbara Tucker, the exhibition contains many works that have never previously been available for public sale. Offered on behalf of the Albert and Barbara Tucker Foundation, proceeds from the sale of each work will benefit important social causes including the initiation of social change which goes towards increasing the equal treatment and social acceptance of all persons in the community.
It seems particularly appropriate that Albert Tucker’s forceful and energetic compositions that removed the veil of respectability and revealed the rupture, disunity, violence, vulnerability, menace, ambiguity, and urgency confronting our society, continue to play a vital role in our present and future welfare.
The exhibition is open 17 June to 6 July 2019, 10am to 5pm, Monday to Saturday.’]
Publishing details: Sothebys, 2019, 56pp, hc, dw, with price list inserted.

Sievers Wolfgangview full entry

Reference: see Joels Auction, June 26, 2019, Melbourne, Australia, over 50 photographs by Sievers.

Toms Edith M view full entry

Reference: see BURSTOW & HEWETT, auction, 20 June, 2019, lot 1142: Edith M Toms (Australian artist), watercolour, beach scene, 1917, signed, 8.5" x 17", framed

Cotton Johnview full entry

Reference: Cotton (John). The Song Birds of Great Britain,

[Dominic Winter UK, auction catalogue note: Freeman 825; Mullens & Swann pp. 148-9; Nissen IVB 206; Wood p. 301. 'Song Birds, of which only a few copies were printed for private circulation, is a work of the utmost rarity in its complete state, and is moreover much esteemed for the fidelity and beauty of its life-size hand-coloured plates' (Mullens & Swann). It was first published the previous year; this second issue has a cancel title-page to part one and no title-page to part two. Cotton later emigrated to Australia; his correspondence on Australian avifauna is now considered 'of great historical value' (ADB).
Publishing details: 1st edition, 2nd issue, [privately printed], 1836, 33 hand-coloured engraved plates, royal 8vo (23.5 x 14.7 cm)

Papapetrou Polixeniview full entry

Reference: Polixeni Papapetrou, Natalie King (series editor)

Publishing details: Melbourne : Thames & Hudson, 2019. Octavo, illustrated boards, pp. 96, illustrated in colour.
Ref: 1000

Barton Del Kathryn view full entry

Reference: Del Kathryn Barton, Natalie King (series editor)

Publishing details: Melbourne : Thames & Hudson, 2019. Octavo, illustrated boards, pp. 96, illustrated in colour.
Ref: 1000

Western Australian Art Gallery Collectionview full entry

Reference: Western Australian Art Gallery Collection, introduction by Frank Norton. works described and illustrated, chiefly from Western Australia and Arnhem Land;
Publishing details: The Western Australian Art Gallery Board, 1969. Quarto, illustrated wrappers (designed by Frank Norton), pp. 15, 109, AGWA, 1969, 15pp (back cover missing)

Norton Frankview full entry

Reference: Western Australian Art Gallery Collection, introduction by Frank Norton. works described and illustrated, chiefly from Western Australia and Arnhem Land;
Publishing details: The Western Australian Art Gallery Board, 1969. Quarto, illustrated wrappers (designed by Frank Norton), pp. 15, 109, AGWA, 1969, 15pp (back cover missing)

Piccinini Patriciaview full entry

Reference: Patricia Piccinini: Curious affection by Peter McKay et al.
[’Patricia Piccinini’s imaginative and startlingly life-like artworks surprise and enchant with their fantastic rendering of the near future — a world in which DNA editing is commonplace, machinery is sentient, and life both old and new is flourishing.
This publication accompanying the exhibition of the same name explores the artist’s exciting new commissions, as well as significant works produced over the last 20 years. New scholarship by Dr Elizabeth Finkel (Cosmos Magazine) and Professor Rosi Braidotti, a pioneer in European women’s studies, together with a curatorial overview by Peter McKay, explores the artist’s groundbreaking artworks and ideas. The publication also features ‘Familiar’, a short story by award-winning author China Miéville, about an unearthly creature — conjured by a witch’s magic — as it tries to survive in a hostile city.
Patricia Piccinini: Curious Affection allows readers to view the extraordinarily creative output of one of Australia’s most successful contemporary artists in an informative, thought-provoking and beautifully designed volume, filled with stunning installation photography of her major exhibition at GOMA.’]

Publishing details: Brisbane : Queensland Art Gallery, 2018. Quarto, illistrated boards, pp. 202, illustrated.
Ref: 1000

Canning Crissview full entry

Reference: Criss Canning 2008

Publishing details: Melbourne : Metro 5 Gallery, 2008. Small quarto, blind embossed diecut wrappers, pp. 24, illustrated.
Ref: 1000

Moffatt Traceyview full entry

Reference: The moving images of Tracey Moffatt, by Catherine Summerhayes.
A monograph which comprehensively examines Moffatt’s contemporary cinematic oeuvre, approaching it simultaneously as film, performance art, documentation and photography
Publishing details: Milan : Charta, 2007. Quarto, boards, pp. 250, illustrated.
Ref: 1000

Piccinini Patriciaview full entry

Reference: Patricia Piccinini & Joy Hester : through love. Victoria Lynn, curator.

[’‘Love and intimacy are the focus of this major exhibition that pairs the work of globally renowned artist Patricia Piccinini with that of important Australian modernist Joy Hester.
Patricia Piccinini & Joy Hester: Through love … presents more than 50 works, including a major new sculpture by Piccinini and rarely-seen works by Hester, that show the incredible spectrum of human and non-human relationships, from romantic love and maternal devotion through to the connections formed between humans and animals, and animate and inanimate objects.
Melbourne-based artist Piccinini is known for her large-scale, life-like sculptures of hybrid forms that often fuse together human and animal characteristics to examine the increasingly blurred boundary between the artificial and natural worlds. Her early practice was profoundly influenced by the work of Hester (1920-60), a member of Melbourne’s ‘Heide circle’ who was acclaimed for highly personal brush and ink drawings that evoked emotional extremes from passion to loneliness.
In a world first, Through love … exhibits Hester’s ink and paper works as touchstones for Piccinini’s extraordinary sculptures, photography, video works and drawings. Alongside a new work developed especially for TarraWarra Museum of Art, Piccinini is represented by some of her most important sculptures including The Young Family 2002; Nest 2006; Doubting Thomas 2008; The Lovers 2011; Kindred 2018; and TarraWarra Museum of Art collection work Thicker Than Water 2007.’ – the publisher
‘]

Publishing details: Melbourne : TarraWarra Museum of Art, November 2018. Quarto, pictorial laminated boards, illustrated endpapers, pp. 126, illustrated
Catalogue for an Exhibition held at TarraWarra Museum of Art from 24 November 2018 – 11 March 2019.
Ref: 1000

Hester Joyview full entry

Reference: see Patricia Piccinini & Joy Hester : through love. Victoria Lynn, curator.

[’‘Love and intimacy are the focus of this major exhibition that pairs the work of globally renowned artist Patricia Piccinini with that of important Australian modernist Joy Hester.
Patricia Piccinini & Joy Hester: Through love … presents more than 50 works, including a major new sculpture by Piccinini and rarely-seen works by Hester, that show the incredible spectrum of human and non-human relationships, from romantic love and maternal devotion through to the connections formed between humans and animals, and animate and inanimate objects.
Melbourne-based artist Piccinini is known for her large-scale, life-like sculptures of hybrid forms that often fuse together human and animal characteristics to examine the increasingly blurred boundary between the artificial and natural worlds. Her early practice was profoundly influenced by the work of Hester (1920-60), a member of Melbourne’s ‘Heide circle’ who was acclaimed for highly personal brush and ink drawings that evoked emotional extremes from passion to loneliness.
In a world first, Through love … exhibits Hester’s ink and paper works as touchstones for Piccinini’s extraordinary sculptures, photography, video works and drawings. Alongside a new work developed especially for TarraWarra Museum of Art, Piccinini is represented by some of her most important sculptures including The Young Family 2002; Nest 2006; Doubting Thomas 2008; The Lovers 2011; Kindred 2018; and TarraWarra Museum of Art collection work Thicker Than Water 2007.’ – the publisher
‘]

Publishing details: Melbourne : TarraWarra Museum of Art, November 2018. Quarto, pictorial laminated boards, illustrated endpapers, pp. 126, illustrated
Catalogue for an Exhibition held at TarraWarra Museum of Art from 24 November 2018 – 11 March 2019.

Tucker Albertview full entry

Reference: Albert Tucker : the timeless land. Exhibition catalogue of 54 works by Australian artist Albert Tucker. Includes price list.
Publishing details: Sydney : Second East Auction Holdings, 2010. Quarto, white illustrated wrappers, pp. 116, illustrations throughout.
Ref: 1000

Carington Smith Jack view full entry

Reference: see Smith Jack Carington

Whisson Kenview full entry

Reference: Ken Whisson : a survey
Catalogue of 36 works by the artist with short biography and essay by John McDonald. Edition of 1000 copies. Curated by Clinton Tweedie.
Publishing details: [Victoria?] : [312 Lennox Street Gallery], [1990]. Quarto, illustrated cream wrappers, pp. 20, illustrations throughout.
Ref: 1000

Wallace-Crabbe Robin view full entry

Reference: Robin Wallace-Crabbe : studio corners, paintings & constructions 1985-1986
Exhibition catalogue of 14 works with loose price list.
Publishing details: Melbourne : Powell Street Gallery, 1986. Quarto, white card wrappers, [pp. 18], some illustrations.
Ref: 1000

Breslin Anthonyview full entry

Reference: Frantic Bloom
[’Frantic Bloom showcases the stylistically varied and compelling work of Anthony Breslin, a painter, poet, performer, stage designer and director from Melbourne.
For Breslin, art is a happening, a transformation of the material used, with artist and artwork engaging in a trance-dance of creation. As Breslin explains: “This manic search in coloured paint is an attempt to encapsulate the memory of an imaginary kaleidoscope I yearned for as a child, but never did it manifest itself in any birthday box I ever knew.”
Described as a lovechild of modern primitivism’s denouncement of the ultra- technological urban landscape, surrealism’s revolt against the tyranny of Reason, and expressionism’s desire to externalise the inner turmoil of the individual, Breslin’s work is composed of circuitous outlines, undulating curves and Pollock-esque paint splatters,
as well as deformed human faces and bold, festive colours. These embody Breslin’s attempt to depict the plight of the modern- day human forever entrenched in the process of self-formation and self-assertion.
“In much of Breslin’s work, his ability to celebrate the ‘otherworld’ of imagination
is associated with both delight and a
slight dread of all that life offers. While
he generally revels in the sense of play and joy, some primitive dark force inevitably glimmers beneath the surface, to animate the anxious bugs trapped on canvas and to chill the startled stares of his subjects as they contemplate the void.”
– Dr Lisa Dethridge, ‘The artist as urban shaman’
Includes a foreword by The Hon. Paul M. Guest QC and an introductory essay by
Dr Lisa Dethridge of RMIT University, along with a list of Breslin’s exhibitions and a personal timeline.’]

Publishing details: Melbourne : Melbourne Books, 2010. Quarto, boards, illustrated, pp. 232, housed in publisher’s box.
Ref: 1000

Sime Dawnview full entry

Reference: Looking through : selected works by Dawn Sime

Publishing details: Melbourne : University of Melbourne, 1996. Quarto, illustrated wrappers, pp. 32, illustrated.
Ref: 1000

Faulkner Sarahview full entry

Reference: Sarah Faulkner : no straight lines ~ a survey 1982 – 2004
Exhibition catalogue with conversation with the artist by John Buckley.
Publishing details: Melbourne : Stonington Stables Museum of Art, Deakin University, 2004. Quarto, illustrated wrappers, pp. 28, colour illustrations throughout.
Ref: 1000

oan exhibitionsview full entry

Reference: see Australian Art & Artists to 1950 - a bibliography based on the holdings of the State Library of Victoria compiled by Elizabeth Hanks. [Australian artists and art subjects are listed alphabetically. Australian art catalogues and art books (and over 100 periodicals) in the SLV have been indexed].
Publishing details: Library Council of Victioria, 1982, pb, 397pp

Loan Exhibition 1897 - Diamond Jubilee view full entry

Reference: see Australian Art & Artists to 1950 - a bibliography based on the holdings of the State Library of Victoria compiled by Elizabeth Hanks. [Australian artists and art subjects are listed alphabetically. Australian art catalogues and art books (and over 100 periodicals) in the SLV have been indexed].
Publishing details: Library Council of Victioria, 1982, pb, 397pp

loan collections of oil paintings and water-colour drawings exhibited in the Sydney, Melbourne and Adelaide Galleriesview full entry

Reference: see Catalogue of the second interchange loan collections of oil paintings and water-colour drawings exhibited in the Sydney, Melbourne and Adelaide Galleries ... 1896.
Published (imprint): Syd., 1896.

Publishing details: National Art Gallery of New South Wales, 1896, Description: 76 p. : illus.

Loan exhibitionview full entry

Reference: National Gallery of Victoria
National Gallery of Victoria : loan exhibition of Australian paintings
Exhibition catalogue of 427 works.
Publishing details: Melbourne : National Gallery of Victoria, 1925. Quarto, plain card imprinted wrappers, pp. 30.
Ref: 1000

Tillers Imantsview full entry

Reference: Imants Tillers : the enigma of arrival
Essays by Pierre Restany and Wystan Curnow.
Publishing details: Sydney : Sherman Galleries, 1997. Quarto, illustrated folding card, 3 double sided pages.
Ref: 1000

Storrier Timview full entry

Reference: Storrier 10 October – 4 November 2001
Essay by David Thomas about the artist.
Publishing details: Melbourne : Metro 5 Gallery, 2001. Quarto, illustrated folding card, 4 pages.
Ref: 1000

Lander Cyril Georgeview full entry

Reference: see Martel Maides auction
June 27, 2019, 10:00 AM BST
Guernsey, United Kingdom. lot 894, Description: Cyril George Lander (Australian, 1892-1983)
Mousehole harbour, Cornwall
watercolour, signed 'Cyril Lander' lower right
14 1/4 x 19 3/4in. (36.3 x 50.25cm.)

* Condition: Not examined out of frame - framing appears original (1960s-70s). Light foxing to lower area of water and sky and very minor mount burn. Colours remain strong.

Parsons R 1918 2011view full entry

Reference: see Hawley’s auction, 30 Jun 2019, Beverley , East Yorkshire, lot 669: Oil on board landscape signed R. Parsons. the pseudonym of Australian artist Leon William Harrison 1918 2011

Harrison Leon William 1918 2011view full entry

Reference: see Hawley’s auction, 30 Jun 2019, Beverley , East Yorkshire, lot 669: Oil on board landscape signed R. Parsons. the pseudonym of Australian artist Leon William Harrison 1918 2011

Hodgkins Francesview full entry

Reference: Anthony Hordern’ Fine Arts Gallery in Sydney in 1913
Publishing details: Anthony Hordern’ Fine Arts Gallery, 1913
Ref: 1000

Hodgkins Francesview full entry

Reference: Auckland Art Gallery exhibition – European Journeys
Publishing details: Auckland Art Gallery, 2019
Ref: 1006

Hodgkins Frances 1869-1947view full entry

Reference: Francis Hodgkins - A New Zealand Modernist, exhibition at Auckland’s Jonathan Grant Gallery, 15 works
Publishing details: Jonathan Grant Gallery, Auckland, 2019
Ref: 1006

Hodgkins Frances 1869-1947view full entry

Reference: see AASD article by Terry Ingram, 20-Jun-2019:

[’Frances Hodgkins (1869 -1947) is the star of an exhibition of almost 300 watercolours at the Auckland Art Gallery. She was much-loved by Australian art collectors in her day, and showed at Anthony Hordern’s Gallery in Sydney in 1913. This is an extraordinary achievement for an artist whose career spanned the leap from traditional to contemporary art in the early 20th century and who came from a place then thought to be the end of the world. Above, ‘Bridesmaids’, 1930 from the artist's Manchester period.’]

A New Zealand artist is at the top of the list of women artists who will dominate the “What’s on” lists of important exhibition venues around the world this year.
Much-loved by Australian art collectors in particular in her day, the artist is Frances Hodgkins (1869 -1947) who showed at Anthony Hordern’ Fine Arts Gallery in Sydney in 1913. She is currently the star of one of the biggest exhibitions - numbering close to 300 watercolours - showing at the Auckland Art Gallery.
The exhibition is aptly titled Frances Hodgkins – European Journeys because she was very peripatetic. She is also the subject of a commercial exhibition Francis Hodgkins - A New Zealand Modernist at Auckland’s Jonathan Grant Gallery (JGG) of 15 watercolours eight of which have been sold. It runs until September 1.
This is an extraordinary achievement for an artist whose career spanned the leap that world art took from the traditional to the contemporary in the early 20th century and who came from a place then thought to be the end of the world.
The exhibition at Jonathan Grant Gallery emphasises her modernism. Hodgkins is designated a Modernist by the galleries, following the period’s developments closely by being on the spot in Europe while they were happening.
Her greatest achievement was perhaps applying modernism to the medium of watercolour in which she worked almost exclusively. Previously watercolour had come to be associated largely with prissy Victorianism.
Watercolours tend not to capture quite the financial acclaim as oils. However, the works have been soaring in the market-place with prices up to $NZ125,000 being asked for a still life Marrows and Peppers at Jonathan Grant Gallery. Landscape and portraits make up most of the remainder.
Hodgkins often merged two or three of her ideas into one and in the’20s introduced an occasional surrealist element. She was well connected to the Modern British School and also a player in the Manchester School which was the thriving at the turn of the 19th and 20th centuries.
A leader of the British School, John Piper, wrote a book on her. Collectors of her work receive good value in paint and effort from her studio. She piled the paint on repeatedly changing the work so much that it came to weigh substantially more than when she started, when she finally let it go!
Dunedin-born Hodgkins has never been seriously neglected, but in a practice reminiscent of the big spending days of Sydney, New Zealander Denis Savill on Arthur Boyd and the stockbroker Gordon Moffatt on J A Turner in the 1970s and 1980s respectively the New Zealand dealership has discretely assembled the show.
It has not been an easy task because of the artist’s intensive travels in Europe including the United Kingdom from 1900, there always appears to be a couple of stalwart local museums or collectors ready to reach out for what works come onto the market.
Her ties with Australia were strong. “Call me Australian if you wish” she told one reporter shortly after federation in those days when nationality was not firmly defined
At her exhibition at the Anthony Hordern’ Fine Arts Gallery in Sydney in 1913, Julian Ashton seized on the exhibits’ refreshing directness for their medium which tended to be associated by art lovers with prettiness and primness.
While not officially part of any plot by feminists to improve the lot of women artists per se, the exhibition appears to be a sudden, growing recognition that women artists have had a raw deal in obtaining exhibitions.
Many unconnected curators and critics as well as members of the trade appear to have arrived at this conclusion at the same point in time.
Other “local” women artists inevitably will be pressed into service although many of the best works have already been taken by collectors such as that put together by John Cruthers in Perth,
Gooderham in conjunction with the independent curator Mary Kisler have given extra credibility to provenances by ensuring that wherever possible the location of the scenery depicted in her landscapes, which were an important part of her oeuvre is identified. Gooderham recently visited Wales to identify the locations of works she did there.
Hodgkins’ visit to Wales included Corfe Castle where there was a small arts community. She painted the Castle, as did Sir Arthur Streeton whose large painting of the subject featured in sales in the 1980s. It was not an easy sell, however --too much grey.
The sites she painted have now been investigated and photographed by the Auckland Art Gallery and Jonathan Grant Gallery. This has often involved travelling to the sites very speculatively, giving buyers a little extra assurance as to provenance, attribution and the period of the artist’s work. A full catalogue raisonne of her work is meanwhile being published on the Internet.
The exhibition fits in well with the current vogue for women artists that is also taking place in the selection of plays with women’s roles around the world in both film and theatre. This year it will be difficult dodging shows devoted to individual women artists as there are so many of them.
The artist currently attracting the most acclaim is that devoted to Mrs Pollock, (Lee Krasner) as the wife and then the widow of Jackson Pollock was known. An exhibition has opened at London’s Barbican Art Gallery to massively enthusiastic reviews. This includes major loan material from Australia which has been singled out for special mention by the critics.
Other exhibitions devoted to individual women artists at major venues this year include Natatalie Goncharova at Tate Modern, Faith Ringgold at the Serpentine and Paula Rego at Milton Keynes New Gallery.
In France, Berthe Morisot is being shown at the Muse d’Orsay, Dora Maar at the Pompidou and Sally Mann at the Jeu de Pomme.
About The Author
Terry Ingram inaugurated the weekly Saleroom column for the Australian Financial Review in 1969 and continued writing it for nearly 40 years. His scoops include the Whitlam Government's purchase of Blue Poles in 1973 and repeated fake scandals (from contemporary art to antique silver) and auction finds. He has closely followed the international art, collectors and antique markets to this days. Terry has also written two books on the subjects

Index to illustrated newspaper imagery relating to Tasmaniaview full entry

Reference: Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012.

["This index to illustrated newspaper imagery relating to Tasmania has been assembled from the much broader Index to imagery in colonial Australian illustrated newspapers. The reason for its production is that of the imagery relating to Australia in the papers, 55% concerns Victoria, 30% pertains to New South Wales, and just 15% involves South Australia, Tasmania, Queensland and Western Australia at a ratio of approximately 5.0%, 3.5%, 3.5% and 1.0% respectively (the remaining 2.0% is accounted for by the non-colony specific subject, Imaginative Fiction Illustration). Out of a concern that these less covered colonies may seem a bit lost in the Index, and conversely, to make it easier for researchers interested in imagery from just one or another of these colonies, this cut-and-paste collection of the imagery relating to Tasmania has been compiled"--Introduction.]
Publishing details: Printed by the author, Hamilton, Victoria,
November 2012
Ref: 1000

newspaper illustrationsview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012
Contents
Introduction
1
Guide to index
3
Material Culture
Panoramas
1
8
Streetscapes
2
1
Buildin
gs
22
Commerce
24
Manufacturing
24
Exhibitions
25
Gardens
26
Monuments (no images)
26
Maritime
27
Transpo
rt & Communications
31
Civic
Culture
Portraits
33
Civic Occasions
36
The Arts
37
Leisure
37
Military & Naval
4
0
Frontier Culture
Landscapes
40
Indigenous People
4
8
Rural
49
Mining
50
Nat
u
ral History
5
2
Natural Disasters
54
Crime
54
Sundry
Miscellan
eous
–
All colonies
55

iv
Supplementary
Women & Chi
ldren
(no images)
55
Chi
nese
(no images)
55
Historical
(no images)
55
Supple
ments
5
7
Creators
Illustrators
5
8
Photographers
59
Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Woolley Charles Alfredview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012.
Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Winter Alfredview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Walsh & Sonview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Officer S Lview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Paterson F Jview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Frith Henry Albertview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Dowling William Paulview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Clifford Samuelview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Cawston Williamview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Burns James (Wynyard)view full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Beattie J Wview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Anson Brothersview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Allport Mortonview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Wood Louisview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Stutterd Joseph Gardnerview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Jeffreys Charlesview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Hudspeth Elizabethview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Fogg Sarah Annview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Fenton Jamesview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Browne F Sview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Angelo G Fview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Angelo G Fview full entry

Reference: see Index to illustrated newspaper imagery relating to Tasmania by Peter A. Dowling
Printed by the author, Hamilton, Victoria,
November 2012

Publishing details: Printed by the author, Hamilton, Victoria,
November 2012

Craftview full entry

Reference: see Decorative Arts in Australia, Art Gallery of New South Wales exhibition
Publishing details: AGNSW, 1991-92

craftview full entry

Reference: The Winnowing of the Grain - Art & Craft magazines in Australia 1963 - 1996 (to be indexed)
Publishing details: Carlton Street Press, Hobart, 2006

glassview full entry

Reference: International Directions in Glass/American Jewellery and Metalwork/Australia - New Design Visions
Publishing details: Art Gallery of WA, 1993 reprint, hc, dw, 179pp, ex libris copy

Graffiti - Melbourne 1983-1993view full entry

Reference: see King's Way: The Beginnings of Australian Graffiti - Melbourne 1983-1993 by Duro Cubrilo, Karl Stamer, Martin Harvey [’A comprehensive account of the first decade of the graffiti writing subculture in Melbourne, and the story of the development of a hardcore underground scene of local 'writers' and their commitment to 'getting up'. Using the city's walls and trains as their canvas, they pioneered the elaborate spray-paint murals that now dominate the cityscape.
‘]
Publishing details: MUP, 2010

Gough Julieview full entry

Reference: Julie Gough – Tense Past Presented by Dark Mofo and the Tasmanian Museum and Art Gallery Tasmanian Museum and Art Gallery, Hobart 7 June – 3 November 2019.
Publishing details: TMAG, 2019
Ref: 1000

Roper Edward 1830-1909view full entry

Reference: see The Maas gallery, UK, catalogue, June, 2019: 28. Edward Roper, 1830-1909

Sea Life in the North Atlantic
Watercolour; signed, dated June 15th 1873, and inscribed 'Animals as seen in/Lat 32 N - Long 45.W'
19 x 12¼ inches
Provenance:
The artist, thence by descent
Information:
Roper and his family returned to England from Australia in 1873 on the Thomas Stephens. Becalmed in the North Atlantic ‘horse latitudes’ of the Sargasso Sea (a large clockwise gyre of particularly clear, blue and salty ocean waters), Roper left the ship in a rowing boat, against a backdrop of ‘fairweather’ waterspouts beneath static low cloud. There, he recorded a large piece of sargassum seaweed and the sea life around it in watercolour. On the back he wrote: ‘Animals taken on Board “Thos Stephens” / on passage from Australia, June 1873’ and gave the exact position of the ship: ‘32 N Lat 45 W Long’, and provided a key with the known names of the animals:
‘1. Physalia, or Portuguese Man of War / 2. Velella or Salle Mar / 3. Glaucus or Sea Lizard / 4. Great Pipe Fish / 5. Painted or Floating crab / 6. Cestus Veneris, or Venus’ Girdle (?) / 7. Varieties of Medusa / 8. Nearer view of portions of no. 6 / 9. Janthina Fragilis or Violet Snail & Raft / The other fish are unknown as to names.’
After this voyage, Roper studied in Paris and made a successful career as a professional artist and writer, publishing books of his travels in Canada (which he revisited many times) and working for Boys Own Paper and London Illustrated News up until his death in 1909.
[This work previously at Bonhams, London].

Watson Douglasview full entry

Reference: see Australian War Memorial website:
Service number NX191007
Birth Date 13 June 1920
Birth Place Australia: New South Wales, Sydney
Death Date 1972
Death Place Australia: New South Wales, Sydney
Final Rank Lieutenant
Place Sydney
Conflict/Operation Second World War, 1939-1945
Description
Douglas Watson, one of the youngest official war artists of the Second World War, was born in Sydney on 13 June 1920. He studied at the East Sydney Technical College and on graduating in 1940, was awarded a state scholarship to study overseas, but because of the war he was not able to leave Australia.

In 1941, at the age of 21, Watson applied to become an official war artist. He had spent six months travelling around Western Australia, sketching in the hope of getting work as a war artist, and he had written to the Commonwealth Art Advisory Committee to express his interest.

Watson enlisted in July 1942. He was assigned to 4 Camouflage Training Unit, then transferred to the Military History Section in August 1943. He became an official war artist with the rank of lieutenant in November 1943 and was sent to Townsville to begin his commission. On the way he stopped in Sydney to document the activities at the Sydney Graving Dock.

Watson's commission spanned the last two years of the war and most of 1946. He covered military activities throughout Australia, New Guinea and Borneo.

After the war Watson traveled extensively, studied in Europe and the United Kingdom, and exhibited at the Royal Academy in London and with the Contemporary Art Society in Sydney. Watson was the youngest artist to be awarded the Wynne prize, which he won in 1942, and again in 1945.

Watson died in Sydney in 1972

Watson Tommy - Yannima Pikarli Tommy Watson Ngayuku Nguraview full entry

Reference: Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country. (Special edition, with original painting) - Translation into French by Flore Gregorini. Melbourne : Macmillan, 2014. ‘This special presentation of Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country, authored by Ken McGregor and Marie Geissler, translated into French by Flore Gregorini and published by Macmillan, has been compiled by Ken McGregor. It is limited to 40 copies. Each copy, consisting of 2 units presented together in a slip-case, contains the original publication with a signed portrait of the artist and this explanatory colophon tipped in. A second component contains a unique original painting by the artist together with a signed photograph of the artist creating the work. The photographic portraits are by Ken McGregor. The book-binding is by David Pool with the assistance of Rod Eastgate of Jarman the Picture Framer and Eastgate and Holst. Copy No. 9/40′. (colophon)
This monograph presents the spectacular painting of a master colourist. A Pitjantjatjara elder who maintains his home and studio in Alice Springs, the artist still travels extensively across his ‘country’ to fulfil traditional obligations.

Publishing details: Melbourne : Macmillan, 2014.Quarto, white lettered purple buckram, illustrated endpapers, pp 248, extensively illustrated, text in English and French; the original painting and signed photograph are presented in a black buckram portfolio; both the book and portfolio are housed in a buckram slipcase.

Ref: 1000

Ngura Yannima Pikarli Tommy Watson Ngayuku view full entry

Reference: see Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country. (Special edition, with original painting) - Translation into French by Flore Gregorini. Melbourne : Macmillan, 2014. ‘This special presentation of Yannima Pikarli Tommy Watson Ngayuku Ngura – My Country, authored by Ken McGregor and Marie Geissler, translated into French by Flore Gregorini and published by Macmillan, has been compiled by Ken McGregor. It is limited to 40 copies. Each copy, consisting of 2 units presented together in a slip-case, contains the original publication with a signed portrait of the artist and this explanatory colophon tipped in. A second component contains a unique original painting by the artist together with a signed photograph of the artist creating the work. The photographic portraits are by Ken McGregor. The book-binding is by David Pool with the assistance of Rod Eastgate of Jarman the Picture Framer and Eastgate and Holst. Copy No. 9/40′. (colophon)
This monograph presents the spectacular painting of a master colourist. A Pitjantjatjara elder who maintains his home and studio in Alice Springs, the artist still travels extensively across his ‘country’ to fulfil traditional obligations.

Publishing details: Melbourne : Macmillan, 2014.Quarto, white lettered purple buckram, illustrated endpapers, pp 248, extensively illustrated, text in English and French; the original painting and signed photograph are presented in a black buckram portfolio; both the book and portfolio are housed in a buckram slipcase.

Makin Jeffreyview full entry

Reference: Jeffrey Makin Drawings
Publishing details: Melbourne : Port Jackson Press Australia and Deakin University, 2006. Quarto, illustrated wrappers, pp. 80, illustrated. Limited to 1000 copies.
Ref: 1000

Weaving the Murrayview full entry

Reference: Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;
Ref: 1000

Agius Rhonda view full entry

Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;

Cumpston Nici view full entry

Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;

Darlaston Kirsty view full entry

Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;

Elverd Sandy view full entry

Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;

Houston Chrissie view full entry

Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;

Lawrence Kay view full entry

Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;

Russell Karen view full entry

Reference: see Weaving the Murray : an installation celebrating community, collaboration and craft practice along the River Murray, created by seven artists as a lasting legacy of one hundred years of federation in Australia. Rhonda Agius, Nici Cumpston, Kirsty Darlaston, Sandy Elverd, Chrissie Houston, Kay Lawrence, Karen Russell.
Publishing details: Prospect, SA : Prospect Gallery and Centenary of Federation South Australia, [2002]. Small oblong quarto, pictorial wrappers, 24 pp, illustrated in colour and b/w;

Boyd Davidview full entry

Reference: David Boyd retrospective 1957 – 1982. A series of seven exhibitions presented by the Wagner Art Gallery as a contribution to the Festival of Sydney 1983. Sydney
Publishing details: Wagner Art Gallery, 1983. Oblong quarto, illustrated wrappers, pp. 24, illustrated in black and white.
Ref: 1000

Art of Book Collecting in Australiaview full entry

Reference: The Art of Book Collecting in Australia
Chapters include Bligh, broadsides, colour plate books, fictitious voyages to Australia, Australian broadsides, land explorers etc.

Publishing details: Sydney : Angus & Robertson [printed at The Hawthorn Press], 1956. First edition, limited to 500 signed and numbered copies. Quarto, fine blue cloth boards with gilt lettering to front and spine, in good dustjacket, light offsetting to endpapers, pp [xii], 185 + colophon, b/w plates,
Ref: 1000

Book Collecting in Australiaview full entry

Reference: see The Art of Book Collecting in Australia
Chapters include Bligh, broadsides, colour plate books, fictitious voyages to Australia, Australian broadsides, land explorers etc.

Publishing details: Sydney : Angus & Robertson [printed at The Hawthorn Press], 1956. First edition, limited to 500 signed and numbered copies. Quarto, fine blue cloth boards with gilt lettering to front and spine, in good dustjacket, light offsetting to endpapers, pp [xii], 185 + colophon, b/w plates,

Moffatt Traceyview full entry

Reference: Tracey Moffatt : between dreams and reality. Filippo Maggia (ed.) [’Tracey Moffatt, with her ‘photographic paintings’, fragments of imaginary or real tales, highlights the contrasts within society and within each individual in an exemplary manner. Through forms and techniques that seem to come from the realm of dreams, subconscious, and myth – between dreams and reality – she shows us that day-to-day conflicts are a reality shared by all civilisations, although the particular circumstances and cultural contexts affect the way they are expressed.
Exhibition held Milan, Spazio Oberdan, 28 June – 1 October 2006.’]

Publishing details: Milan : Skira Editore, 2006. Quarto, illustrated wrappers, pp. 143, illustrated.
Ref: 1000

McCrae Georgianaview full entry

Reference: Letters to Georgiana from her four sons.
Letters to Andrew and Georgiana McCrae in 1845 from their four sons George, William, Alexander and Farquhar.

Publishing details: [Arthur’s Seat : the McCrae family], 1962. Duodecimo, printed wrappers, pp. [16],
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart : South Yarra Gallery
Invitation to an exhibition of paintings by Jeffrey Smart at 5:30 p.m on Tuesday, May 21, 1968.
Publishing details: [Melbourne : South Yarra Gallery, 1968]. Quarto, folding card, bifold.
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart : South Yarra Gallery
Invitation to an exhibition of paintings by Jeffrey Smart 1975
Publishing details: [Melbourne : South Yarra Gallery, 1975].
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart : 15 April to 10 May 2008
Brisbane : Philip Bacon Galleries, with essay by Christopher Allen.
Publishing details: Philip Bacon Galleries, 2008. Quarto, illustrated dust jacket, white wrappers, pp. 32, illustrations throughout. Catalogue of 26 works in the exhibition,
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart : Philip Bacon Galleries, with essay by Christopher Allen.
Publishing details: Philip Bacon Galleries, 2005. Quarto, illustrated dust jacket, white wrappers, pp. 24, illustrations throughout. Catalogue of 26 works in the exhibition,
Ref: 1000

Smart Jeffreyview full entry

Reference: Master of Stillness - Jeffrey Smart - Paintings 1940-2011 by Barry Pearce
Publishing details: Anne & Gordon Samstag Museum of Art, 2012. Quarto, illustrated folding card, 3 double sided pages.
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart : the question of portraiture. Exhibition companion with list of works.
Publishing details: [Melbourne] : Mornington Peninsula Regional Gallery, [2009]. Quarto, illustrated wrappers, pp. 24, some illustrations.
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart 1921-2013 : recondita armonia – strange harmonies of contrast Catalogue of works from the exhibition, essay by David Malouf.
Publishing details: Sydney : University Art Gallery, The university of Sydney, 2013. Quarto, illustrated wrappers, pp. 16, colour illustrations throughout.
Ref: 1000

Smart Jeffreyview full entry

Reference: Jeffrey Smart : the Perth exhibition Essay by Barry Pearce, list of solo exhibitions and collections.
Publishing details: Perth : The Swansea Gallery, 2011. Quarto, folded card, 3 pages, 2 illustrated.
Ref: 1000

Taylor Peter 1927-2019
view full entry

Reference: see Sydney Morning Herald, 4 July, 2019, Obituary: Peter Taylor 1927-2019
By Dr Annette Van den Bosch:
Taylor was previously head of sculpture at the school of art, University of Tasmania. He worked for 20 years making figurative sculpture and many coats of arms for public buildings in Hobart. His work was collected by the Tasmanian Museum and Art Gallery and the Queen Victoria Museum and Art Gallery in Launceston.
During this period, a Design in Wood degree was established at the school of art. Taylor and Kevin Perkins were later commissioned to design furniture and a small sculpture for the Prime Minister's suite at Parliament House.
Taylor's work was exhibited at Macquarie Galleries in Sydney, Dick Hughes Gallery in Brisbane and was collected for the National Gallery of Victoria by Robert Lindsay. His work was reviewed by Nancy Borlase, art critic for the Herald, Sandra Mcgrath in The Australian and Suzi Gablik in Art in America in 1981 and throughout the 1980s and early 1990s.
Taylor’s work drew on early Tasmanian history, including the explorations of Nicolas Baudin and Francois Peron, and the later voyage of La Perouse to Botany Bay. He carved text on his sculpture or responded to commissions, for example by the small museum to mark the landing of La Perouse. Taylor responded to the "detached and objective observation of native peoples which was clearly stated in the instructions to French explorers".
His large figurative pine sculptures were made of both highly polished surfaces and rough untreated exterior bark, the figures were often marked with brightly coloured paint in an abstract pattern that enlivened the surface and attracted the eye.

Dr Annette Van den Bosch

Peter Taylor, who died in a Hobart nursing home last month, was an accomplished artist renowned for his distinctive wooden sculptures and assemblages made from Huon pine, a timber native to the Huon Valley region of Tasmania where he had lived and worked since 1961.
His most significant architectural commission was the Coat of Arms in the Senate chamber, the design for which includes Tasmanian myrtle with etched and slumped glass.
Peter Taylor, who died in a Hobart nursing home last month, was an accomplished artist renowned for his distinctive wooden sculptures and assemblages made from Huon pine, a timber native to the Huon Valley region of Tasmania where he had lived and worked since 1961.
His most significant architectural commission was the Coat of Arms in the Senate chamber, the design for which includes Tasmanian myrtle with etched and slumped glass.
Peter Taylor, who died in a Hobart nursing home last month, was an accomplished artist renowned for his distinctive wooden sculptures and assemblages made from Huon pine, a timber native to the Huon Valley region of Tasmania where he had lived and worked since 1961.
His most significant architectural commission was the Coat of Arms in the Senate chamber, the design for which includes Tasmanian myrtle with etched and slumped glass.
Taylor was born in Sydney on February 23, 1927. His works were exhibited and collected in Sydney, Melbourne and Brisbane, as well as Tasmania. He came to prominence in the 1980s.
Taylor's group of six full-scale figures was displayed in the 1984 Biennale of Sydney, directed by Leon Paroissien, after his selection for the 1981 Australian Perspecta directed by Bernice Murphy.

Ettleson Jamesview full entry

Reference: Selective Hearing, exhibition, Arthouse Gallery, 2019. Invite with short essay on the artist.
Publishing details: Arthouse Gallery, 2019
Ref: 1000

Spirovski Loribelleview full entry

Reference: exhibition at Frances Keevil Gallery, Cross Street, Double Bay, NSW
Publishing details: Frances Keevil Gallery, 2019
Ref: 1000

Kelly Deborahview full entry

Reference: see Look Magazine, July-August, 2019, p23, interview by Susannah Kelly.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Archibald Prizeview full entry

Reference: see Look Magazine, July-August, 2019, p28-9, Archie turns 100
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Swift Ianview full entry

Reference: exhibition at Lost Bear Gallery, Katoomba, NSW
Publishing details: Lost Bear Gallery, Katoomba, NSW, 2019
Ref: 1000

framesview full entry

Reference: see Look Magazine, July-August, 2019, p36-7 illustrated article by Anne Gerard-Austin ‘From the Sidelines.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

framingview full entry

Reference: see Look Magazine, July-August, 2019, p36-7 illustrated article by Anne Gerard-Austin ‘From the Sidelines.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Culliton Lucyview full entry

Reference: exhibition at King Street Gallery
Publishing details: King Street Gallery, 2019
Ref: 1000

Heron John Spier collectorview full entry

Reference: see Look Magazine, July-August, 2019, p51 illustrated article by Anne Gerard-Austin. Collection, involved in shipwreck, included a Tiepolo now in Art Gallery of NSW.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Whiteley Brett operaview full entry

Reference: see Look Magazine, July-August, 2019, p52-4 illustrated article by Jacqui Taffel ‘Notes on the Artist’s Life’
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Blowers Nicholasview full entry

Reference: exhibition at Nanda Hobbs Gallery
Publishing details: Nanda Hobbs Gallery, Chippendale, NSW, 2019
Ref: 1000

Parekowhai Michaelview full entry

Reference: see Look Magazine, July-August, 2019, p61 illustrated work, The English Channel, 2015, [Captain Cook] in Art Gallery of NSW.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Black Dorritview full entry

Reference: see Look Magazine, July-August, 2019, p66-7 illustrated article on the artist’s prints in Art Gallery of NSW.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Lowry Fionaview full entry

Reference: see Look Magazine, July-August, 2019, p69-72 illustrated article on the artist.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Capon Edmundview full entry

Reference: see Look Magazine, July-August, 2019, various references.
Publishing details: Look Magazine, Art Gallery Society of New South Wales, July-August, 2019,

Hoddle Robertview full entry

Reference: Hordern House catalogue item, July, 2019:
Manuscript letter from Robert Hoddle as Assistant Surveyor to John Oxley…
HODDLE, Robert
Sydney: 19th January, 1826.
Single sheet of laid paper, 375 x 228 mm folded to letter form, watermarked "C. Wilmott 1819"; remnants of red wax-seal.
before Melbourne…disputed title in the Hunter Valley

A most interesting letter from Robert Hoddle as Assistant Surveyor of New South Wales, to his superior, John Oxley.
Robert Hoddle (1794-1881) had arrived in New South Wales in 1823 and spent 12 years surveying country districts of New South Wales. He earned the esteem of Governor Sir Thomas Brisbane and his successor Sir Ralph Darling, but a rather arch Sir Thomas Mitchell (Oxley's successor) declared that Hoddle was a man who 'can scarcely spell … [and] can only be employed as he has always been, at the chain'. [ADB]. Despite Mitchell's opinion, Hoddle was appointed Senior Surveyor and later, Surveyor- General in Victoria (then Port Phillip) and his work was fundamental to the planning and layout of Melbourne and Geelong.
In this letter, Hoddle apologises for mistakenly marking a claim before receiving Oxley's orders. Hoddle's claimants were William Lee and John Tindall (Tindale) who had improved the land with a 'Hut and Stock Yards'. William Lee was the son of a First Fleet convict and Tindale had arrived on the Guilford in 1812 earning his freedom (with other convicts) after completion of the road over the Blue Mountains in 1815. The letter records Lee's activity with the notorious and murderous 'Lieut Lowe of the 40th Regt'. Lieutenant Nathanial Lowe was to be indicted for the murder of Aboriginal man Jacky-Jacky in a landmark case, the following year. The case helped to establish the rights of A boriginals under Colonial law, but Lowe was to be exonerated and the case dubbed by William Wentworth 'a solemn judicial farce'. [See R v Lowe http://www.law.mq.edu.au/research/colonial_case_law/nsw/cases/case_index/1827/r_v_lowe/].
The 'Superior' claimant who complained of Hoddle's oversight was 'Mr R. Fitzgerald', the one-time Third Fleet convict, Richard Fitzgerald. By the time of this letter he had, as a free man, accumulated sizeable landholdings in the Upper Hunter Valley near the Goulburn River, having served (briefly) as Macquarie's Superintendent of agriculture on the Emu Plains and later as agent for Elizabeth Macquarie, also administering part of the Macarthur estate. Fitzgerald's son Robert, (mentioned in the letter) was also to become a prominent grazier in the Liverpool Plains region. In 1830 he was granted 500 acres near Rylstone and, on his father's death in 1840, inherited his lands and the agency for Mrs Elizabeth Macquarie's estate.

Rayner Hewitt Henry.view full entry

Reference: Hordern House catalogue item, July, 2019:
Portrait of the writer, D.H. Lawrence (11 September 1885 – 2 March 1930)…
RAYNER, Hewitt Henry.
1929.
An original pen and ink portrait, 270 x 200mm; signed lower left Henry Rayner and inscribed "D H Lawrence 1929"; mounted and framed.
Portrait of D.H. Lawrence

This evocative portrait of the great writer brilliantly captures his likeness in his 44th year, at a time when he had returned to Europe from New Mexico and was suffering greatly from the tuberculosis that would kill him early the following year.
This portrait of a short-time Australian resident (Lawrence was in Australia from May to August 1822, the last ten weeks spent in residence at Thirroul on the New South Wales coast) was painted by a significant expatriate Australian artist: Henry Hewitt Rayner was born in Melbourne in September 1902. His father Henry Redstone Rayner had arrived in Australia in 1886 at the age of 14 with his family from the Isle of Wight. Henry Hewitt grew up in Brighton, then a small coastal town to the south of Melbourne, where his father had a building business. Keen from a very young age to train as an artist he moved to England in 1923 and it was here he that he commenced his formal art training at the Royal Academy of Art. He was a student of Walter Sickert, who became his mentor, a relationship that evolved into a genuine friendship. It was here too he became a close friend of Augustus John. Rayner's work is held widely including at the Victoria & Albert Museum, the British Museum, the National Portrait Gallery and the Royal Collection, as well as galleries in Australia and New Zealand.
The towering literary figure D. H. Lawrence was described by the novelist E. M. Forster as 'the greatest imaginative novelist of our generation'. His early novel, "Sons and Lovers", published in 1913, is set against his own background of a Nottinghamshire mining family. Later works dealt with personal relationships, sexual experience and spontaneous emotion and made a profound impact, both literary and social. His best known novels include "The Rainbow", 1915, "Women in Love", 1920 and "Lady Chatterley's Lover", 1928, the later banned until 1960.
Lawrence began in 1922 what he termed his "savage pilgrimage", a time of voluntary exile. He left England returning only twice for brief visits, and with his wife Frieda spent the remainder of his life travelling. They set off in an easterly direction, first to Ceylon and then on to Australia. A short residence in Darlington, Western Australia, which included an encounter with local writer Mollie Skinner, was followed by a stop in the small coastal town of Thirroul, New South Wales, during which time Lawrence completed his novel, "Kangaroo".
The Lawrences finally arrived in the United States with the idea of setting up a utopian community with several of his friends, having written to his old socialist friend in Eastwood, Willie Hopkin, in 1915, "I want to gather together about twenty souls and sail away from this world of war and squalor and found a little colony where there shall be no money but a sort of communism as far as necessaries of life go, and some real decency… a place where one can live simply, apart from this civilisation… [with] a few other people who are also at peace and happy and live, and understand and be free…"
It was with this in mind that they made for the "bohemian" town of Taos, New Mexico, where Mabel Dodge Luhan, a prominent socialite, lived. Here they acquired in 1924 the 160-acre Kiowa Ranch, now called the D. H. Lawrence Ranch from Dodge Luhan in exchange for the manuscript of "Sons and Lovers". Lawrence died on 2 March 1930, aged 44, at Vence in France; his final resting place is this ranch in New Mexico.
On the verso of this evocative portrait is the following intriguing inscription dated Dec. 1944 in pencil. "To Ethel Mannin/ And this man, Henry Rayner, was/ not the white Peacock sitting on the/ stone statue in a churchyard/ A little wiser, a little humbler a/ little more searching". Ethel Mannin (1900-1984) was a novelist and one-time lover of both Yeats and Bertrand Russell. Rayner's enigmatic (and perhaps intimate) reference is to Lawrence's first novel The White Peacock, which explored themes of sexuality and the importance of a life fully-lived: themes which dominated his later work.

less
Provenance: Roy Davids collection of portraits of literary figures; Bonhams, London, "Creative Encounters: Portraits of Writers, Artists and Musicians", 3 October 2005

Kerry Charlesview full entry

Reference: With Douglas Stewart Fine Books. July 2019:
Photographic portraits of Aborigines from New South Wales, Queensland and Northern Territory, 1892-95.
‘Suite of fifteen albumen print photographs, format 200 x 150 mm; each with blind stamp of ‘Kerry & Co. Photo, 308 George St. Sydney’ and with manuscript sequence number and title in the negative; a few with some toning or fading, but the majority are strong prints in very good condition; mounted and framed. Northern Territory subjects: 605. Port Darwin Native. 606. Port Darwin Native. Queensland subjects: 611. Barron River Native. 648. Workii Warrior. 825. Karundi Warrior. Myall Tribe. 829. Narimboo – Workii Tribe. 1370. Mary River Warrior. 1373. Warrior of the Kalkadoon Tribe. 1398. Coongardi. Gilbert River. 1900. Woman – Workii Tribe. New South Wales subjects: 1838. Dhraub. Aboriginal, Bombala, New South Wales. 1946. Aboriginal Women. 1958. Cunninghun. Aboriginal, Armidale District. 2011. Booree. Aboriginal Chief. Jervis Bay. 2643. Aboriginal, Wagga District.
Alongside those of his contemporaries Henry King and J.W. Lindt, Sydney photographer Charles Kerry’s striking portraits of indigenous Australians stand as the most accomplished and well-known of the late nineteenth century. Many were later published as series of postcards which proved immensely popular with the public. Indeed, it is fair to say that until well into the twentieth century, the extremely limited view that most white Australians had of indigenous people and their culture would have been largely based on the widely circulated images produced by Kerry. The longevity (and enduring influence) of Kerry’s images was ensured when his glass plate negatives were acquired, some time before 1930, by Sydney bookseller James Tyrrell, who sold reprints of Kerry’s Aboriginal portraits in large numbers. Two extensive collections of Kerry’s glass negatives are now held in the Powerhouse Museum and Macleay Museum, University of Sydney.
Provenance: Lord McAlpine of West Green, United Kingdom; Sotheby’s, Melbourne, Aboriginal Art, 27 June 2000.
‘
Ref: 1000

Jones Henry Gilbertview full entry

Reference: With Douglas Stewart Fine Books. July 2019:
Sketch of Port Phillip Aborigines, circa 1843. ‘Graphite on paper, 105 x 120 mm; unsigned; late nineteenth or early twentieth century pencilled inscription verso: ‘Original drawing by Henry Gilbert Jones, 1842-1845. South Eastern Aboriginals’; in a recent mount and frame.
This sketch, attributed to Henry Gilbert Jones, almost certainly depicts people from the Aboriginal population of the Narre Narre Warren area, southeast of Melbourne. The National Gallery of Australia holds in its collection three sketches by Henry Gilbert Jones that depict the same subjects as those in the present sketch (mother, infant and young woman); the present sketch was presumably made by Jones at the same time as the other three.
The Indigenous people whose traditional lands include the Narre Narre Warren area are the Bunurong (Boon wurrung) of the Kulin nation. They were known to the early colonists as the Western Port Tribe. The dress of the figures in the sketch is consistent with their identification as inhabitants of the Narre Narre Warren area. The figures have been rendered in a highly naturalistic manner, with close attention to their accoutrements. The woman on the right, who carries her infant on her back, is wearing a necklace that appears to be composed of segments of common reed (Phragmites australis), a body ornament which is typical of the southeastern region. The thin headbands worn by both women in the sketch are frequently seen in mid-nineteenth century depictions and early photographs of Aboriginal women of southeastern Australia. Both women are also depicted wearing animal skin (most likely kangaroo) cloaks.
Henry Gilbert Jones was a sketcher, engraver and pharmacist, who arrived in the fledgling colony of Port Phillip in 1840 from England via the United States. In March 1842 Jones was made the Deputy Protector of Natives (medical dispenser to the Aboriginal population) at Narre Narre Warren Station. He occupied this position until September 1843. It is probable that the drawing offered here dates from this period, during which Jones’ occupation kept him in close contact with the local Aboriginal population.
During his time at Narre Narre Warren, Jones was an amateur artist. He attained professional status in 1846, when some of his etchings of Melbourne views were printed as decorative notepaper headings by John Green. Jones was listed as an artist in Collins Street, Melbourne, in the Port Phillip Almanac for 1847, and as an artist and engraver at 107 Elizabeth Street in 1859.
This sketch’s naturalistic and sensitive style bespeaks the artist’s familiarity with his subject matter, reflecting Jones’ close contact with Aboriginal people on a daily basis. The sketch is an important addition to the extant pictorial record of the Indigenous peoples of the Port Phillip region (at that time still part of the colony of New South Wales) within the first decade of European settlement.
Provenance: The Decorative Arts Collection of James Fairfax, AC., Leonard Joel, Sydney, 1 September 2017, lot 438.
‘

GILFILLAN, John Gordon (1839-1875), attributedview full entry

Reference: With Douglas Stewart Fine Books. July 2019:
‘1. Title: Lamb Hill [in the image] From the south west [manuscript]. Image 150 x 190 mm; sheet 175 x 225 mm; initialled in the image lower right JGG.
2. Title: Lambhill [in manuscript]. Artist’s proof of the above engraving. Image 130 x 180 mm; sheet 150 x 180 mm; uninitialled; verso with pen and ink sketch of two Whanganui settlers with rifles, approximately 90 x 90 mm.
3. Title: Lamb Hill Wanganui [in the image] From nearly north east [in manuscript]. Image 165 x 230 mm; sheet 200 x 260 mm; initialled in the image lower left JGG; small loss at upper right corner of sheet.
4. Title: Lambhill [in manuscript]. Image 120 x 195 mm; sheet 137 x 202 mm; uninitialled.
5. Title: Lamb Hill [in the image] From the west [in manuscript]. Image 112 x 156 mm; sheet 125 x 200 mm; uninitialled.
The artist, J.G. (John Gordon) Gilfillan, was a son of J.A. (John Alexander) Gilfillan (1793-1864), one of the most important early settlers in the Whanganui district. J.A. Gilfillan, John Gordon’s father, was a talented artist who had taught painting at the Andersonian Institute, Glasgow, before emigrating to New Zealand with his wife and young family. The Gilfillans arrived in Wellington on Christmas Day 1841, when John Gordon was only two years of age. By the end of the following year J.A. Gilfillan had settled with his family in Whanganui, where he had been allotted 110 acres of arable land by the New Zealand Company in the Matarawa Valley, a short distance from the Whanganui township. He had also been granted a small town section in Guyton Street, on which he built a small thatched house. This was an interim dwelling which the family used while waiting for their farming land to be developed, and it was during this period that J.A. Gilfillan painted numerous scenes in and around Whanganui, as well as several portraits of local Māori chiefs. Many of his sketches and finished paintings from the first phase of European settlement in Whanganui have survived, and provide an important visual record of this time.
J.A. Gilfillan had completed the construction of the family’s house on their rural property in the Matarawa Valley by the end of 1845, and it is around this date that he painted the watercolour portrait of his six year old son John Gordon, now held in the Fletcher Trust Collection. In April 1847 the Gilfillan homestead was attacked by a Māori raiding party seeking to avenge one of their young men who had suffered a gunshot wound at the hands of a settler. The homestead was burnt to the ground. J.A. Gilfillan survived the attack, despite being severely wounded in the neck, but his wife and three of his children were massacred. Following this tragic incident, J.A. Gilfillan took his three surviving children – including John Gordon – to Australia, where he worked as an artist in Melbourne until his death in February 1864. John Gordon then returned to New Zealand, where he still had family ties in the Whanganui district due to his older sister Georgianna’s marriage to Dr. James Allison (1817-67) of Lamb Hill (Lambhill). Allison, another important early Whanganui settler, had arrived in 1840. He had named Lamb Hill after his family’s property in Scotland. In 1844 Allison married Georgianna Gilfillan (who had just turned 15), the daughter of J.A. Gilfillan. ‘After a period spent living at Wairau, James and Georgianna moved back to Lamb Hill in 1855 where they built the first of the two Lamb Hill homesteads around 1865. This house was of kahikatea, with severe borer damage requiring its replacement in 1880. The replacement was the same in every respect, and on the same spot. The site, a hill with extensive views, was chosen for fear of Maori attack. The lookout platform on the roof was built for the same reason.’ (Whanganui Government Built Heritage Inventory)
The suite of wood engravings of Lamb Hill by John Gordon Gilfillan which we offer here was probably completed in 1865 following his return to Whanganui from Australia. The engravings show the newly built Lamb Hill homestead belonging to his brother-in-law and sister from four different angles. These images are completely unrecorded. While not the work of a professional artist like his father, John Gordon’s engravings have a charmingly naive quality.
A copy of John Gordon Gilfillan’s journal, containing his account of a journey from Whanganui via Taupo and Tauranga to Rotorua district between February and May 1875, is held in the National Library of New Zealand (the original is held in a private collection). Gilfillan did not return to Whanganui – he drowned in Lake Rotorua in May 1875, before completing his journey. The NLNZ also holds five watercolours which it has tentatively attributed to John Gordon Gilfillan, on the basis that they are in a “more primitive” hand than that of his father (see, for example Maori camp with men cooking).
Reference: Smart, Maxwell J.G. and Bates, Arthur P., The Wanganui story. Wanganui : Wanganui Newspapers Ltd., 1972’

Light Williamview full entry

Reference: Colonel William Light : Founder of Adelaide, sailor, soldier, artist, and the first surveyor-general of South Australia. By Thomas Gill(1849-1923) (Deluxe edition)
Publishing details: Adelaide : R. E. E. Rogers for the Royal Geographical Society of Australasia, South Australian Branch, 1911. Octavo, gilt-illustrated vellum, marbled endpapers, pp [vi], 108, [4], 85, photographic plates, folding maps, facsimile documents; includes the Supplement, a reprint of Light’s 1839 ‘Brief Journal’; a fine copy (clearly never read) of the deluxe edition, limited to 200 copies signed by the author; loosely enclosed is the programme for the Light Centenary, October 5th, 1939.

Ref: 1000

Meldrum Schoolview full entry

Reference: see Ink in Her Veins: The Troubled Life of Aileen Palmer. Includes details of Meldrum school artists particularly Madge Hodges who painted Aileen Palmer’s portrait.
Publishing details: UWA Publishing, 2016, 328pp,

Hodges Madgeview full entry

Reference: see Ink in Her Veins: The Troubled Life of Aileen Palmer. Includes details of Meldrum school artists particularly Madge Hodges who painted Aileen Palmer’s portrait.
Publishing details: UWA Publishing, 2016, 328pp,

Hodges Madgeview full entry

Reference: see ‘The lost portrait’ by
SYLVIA MARTIN
23 APRIL 2018[relates to Ink in Her Veins: The Troubled Life of Aileen Palmer’, UWA Publishing, 2016, which Includes details of Meldrum school artists particularly Madge Hodges who painted Aileen Palmer’s portrait.
See article in the Inside Story:
The following is an extract:

I suppose you’d like to see the portrait before we have coffee.” The smiling woman who had greeted me at the door of her elegant Art Deco flat, typical of 1930s Melbourne, gestured towards the living room and ushered me in. On the wall next to the window overlooking the front garden I saw a group of four framed portraits. Three were of the same man painted by different artists. The fourth was of a striking young woman with short hair and high cheekbones, cigarette in her raised hand, caught as if in earnest conversation with someone just out of view. I knew every line of this portrait but the immediacy of seeing the original, in colour, made my skin prickle and my eyes blur.
During the research for my biography of poet and political activist Aileen Palmer in the National Library of Australia, I had found a snapshot of her parents, Australian writers Vance and Nettie Palmer, taken in their living room in the 1950s. On the wall behind them I could see a large portrait in a heavy gold frame of a young woman. Realising it must be a portrait of Aileen, I hunted through the realia in the Palmer archive. I found two framed portraits painted in an impressionistic style by Peggy Maguire in London around 1939: one in brown tones of Aileen’s sleeping figure and the other in shades of blue in which she is reclining on a bed, reading, a red cushion at her back and shadowy outlines of books at the bedhead. Neither was the one I saw in the snapshot taken at Ardmore, the Palmer family home in Kew, just a few kilometres from where I was now standing.
I began my biography with an account of the missing portrait, describing Aileen’s appearance in it as “androgynous” and “bohemian.” “The portrait is so immediately striking,” I wrote, “you want to know who she is and when it was painted. Where could she be? In a cafe, in Paris perhaps? You feel almost as though you could meet such a young woman walking along a city street today…”
I outlined what I knew of the portrait from Aileen’s letters to her parents from London, where she was living in 1938. She had recently returned from two years on the frontlines of the Spanish civil war working as an interpreter and administrator for medical divisions of the International Brigades. A passionate communist from her university days in Melbourne, she had joined the fight to save the elected Republican government in Spain from General Franco’s fascist rebels.
Aileen wrote to her mother on 25 July that Australian artist Madge Hodges, a former student of Max Meldrum, had asked her to sit for a portrait. Madge was a neighbour with a top-floor studio in Charlotte Street, Bloomsbury. According to Aileen, she was “quite a decent Meldrumite painter… She seems rather frail and limp, but is quite awake to things.” A month later, on 25 August, Aileen reported: “I spent part of two evenings this week sitting as a model for Madge Hodges, who painted you once in Australia… She asked me if I would sit for her, as she didn’t think I would be the kind of sitter who would ask her to lengthen my eyelashes, etc. thus more or less inducing her to falsify her work as some sitters do.”
Nettie Palmer’s diary also mentions the portrait, noting that it had been brought back to Australia by a family friend in 1940 and was framed and ready to hang in the living room at Ardmore ten days later. “Remarkably good” was her verdict. “Rather dominant — Napoleonic, conducting the world with a cigarette.” She reported that Vance too was impressed.
Seeing the portrait in colour for the first time made me aware of how closely Madge Hodges had followed the strictures of Meldrum’s “Tonalism,” in which the light or darkness of colours and how they relate to each other was the defining feature. The palette was restricted to five tones and outlines were forbidden. According to art critic John McDonald, writing about the Misty Moderns exhibition in 2009, the paintings that resulted were “remarkably similar in their blurred edges and smudgy, atmospheric surfaces.” A “penchant for gloom” seemed to be a temperamental preference among Meldrum’s students, he added. In Madge Hodges’s portrait, Aileen’s head emerges from a dark background while the deep blue of her dress almost disappears into it. All emphasis is on her face and the raised hand holding the prominent cigarette. The effect is anything but gloomy. The glowing portrait is arresting in its strength and vitality.
In her published diary, Fourteen Years, Nettie Palmer recalls going to an exhibition at the Meldrum Gallery in 1933 where there was “a good mixed show: Jorgensen, Colahan, Leason, and some younger ones, also Meldrum himself. All displayed by strong electric spotlights, the rest of the Gallery correspondingly dark. Good method for their kind of tone-values; other painting might be flattened by it.”
Max Meldrum was a charismatic teacher and Melbourne was the heartland of his “school” in the early decades of the twentieth century. Clarice Beckett was his most favoured student; his other female students have been mostly forgotten. Beckett, who never left Melbourne, died at the age of forty-eight in 1935 but several of Meldrum’s best-known students, including Colin Colahan and Percy Leason, went to Britain and the United States and never returned. Little is known about Madge Hodges, but she was still in Melbourne in 1936 when she illustrated an article for anthropologist Ursula McConnel in the journal Oceania. A painting of hers is listed in an exhibition of Australian expatriate artists at the Imperial Institute Art Gallery, London, in 1956, which indicates that she remained in London after she painted Aileen Palmer in 1938. Colin Colahan exhibited paintings and sculptures there, and other artists listed in 1956 include Arthur Boyd, William Dobell, Sidney Nolan and Rolf Harris.

Wulff Roswitha view full entry

Reference: Roswitha Wulff - Exhibition 0f Exhibition of
Fine Pottery. Shapiro Gallery, Sydney. Please join us for the preview on Thursday 18 July from 6 – 8pm to be opened by
John McDonald
As well, meet the artist in conversation with painter/sculptor
Ron Roberston-Swan OAM
on Sunday 21 July at 2pm.
from website: ‘Roswitha Wulff
In this world of change and distraction, the quality that I strive for in my work is a quiet simplicity. Making pots is a ritual - a celebration of the physical nature of being, and a renewal of life's energy, unfolding through the process of making. The adventure is in the pursuit.
Using the language of wood-firing, I create a personal vocabulary portraying the Australian landscape to which I am greatly attracted. My form is influenced by Art Nouveau or Jugendstil, reflecting the other half of my heritage.
Techniques are informed by pottery from China, Korea, Japan and Germany’]
Publishing details: Shapiro Gallery, Sydney, 2019,
Ref: 1000

Simpson Herbert Clarke 1879-1966view full entry

Reference: see eBay listing 12 July, 2019: ‘Herbert Clarke Simpson (1879-1966) - signed and dated 1912
Herbert Clarke Simpson was born at Casino in New South Wales on 30 April 1879, one of the seven children of Herbert Rennie and Lucy Ellen née Foy. He died in Brisbane on 3 April 1966. Simpson was educated at the state school in Casino and worked for several years in the family grocery store before studying art under Godfrey Rivers at the Brisbane Technical College in the first decade of the 20th century. He exhibited with the Queensland Art Society (later named the Royal Queensland Art Society) 1899-1902 and 1920-34 (principally in the early 1920s). Simpson married Emily Chadwick at Kangaroo Point on 16 August 1924 and moved to reside in the Tweed area in about 1926 when their son was born.
His productive career began in 1906 and lasted for some 50 years. Some of his oil paintings are capably executed, such as his romantic vision of a jungle shroudedDodds Island, Tweed River 1926 (Tweed River Regional Art Gallery collection) but he is most appreciated for his watercolours. His appealing watercolours of familiar subjects in South East Queensland (such as his innumerable studies of Currumbin Rocks) were very popular with locals as well as visitors who sought a more personal souvenir of their stay. Most are of beach settings but occasionally he ventured north to depict subjects such as Dayboro and the Glasshouse Mountains. Simpson made a comfortable living through his art even through the years of the depression and was, probably, the only artist in Queensland to do so. He stated:
'When I began to paint, I reasoned there were three groups of potential purchasers; one small group who can and will pay fancy prices, and intermediate group with a purchase limit of perhaps £10 and the infinitely larger group of the general public which would like to buy pictures, but cannot afford to pay very much. I determined to satisfy the artistic leanings of this larger group.’(1)
This he did successfully. He popularised images of what was to become the Gold Coast well before the development of the mass tourism market after World War II. Simpson sold his work through Brisbane department stores such as McDonnell & East, Finney Isles & Co., McWhirters and Trittons (and also his brother’s photographic studio in Casino) for prices as modest as half a guinea. In later years and in declining circumstances he sold his watercolours at local hostelries. The appeal of his watercolours remains constant in Queensland as evidenced by specialist collectors of his work.
Oil on canvas.
Size: Without frame: 20,5 x 30 inch. (52 x 76 cm). With frame: 28 x 38 inch. (71 x 97 cm).
Age: The work is from 1912’

Neddrie Myra view full entry

Reference: see lot 281, John Nicholson Auctioneers lot 281, Wed, Jul 31, 2019: Myra Neddrie (20th Century) Australian. "Old Dead Gum Bundanoon, NSW", A Mountainous Landscape with Sheep by a Tree, Oil on Artist's Board, Signed, and Inscribed on a label on reverse, 16" x 20".

craft in Western Australia 1829-1969view full entry

Reference: see Inspired by Light and Land. Designers and Makers in Western Australia 1829-1969 by Dorothy Erickson
Publishing details: WA Museum Publications, Perth, November, 2014

photographyview full entry

Reference: see Shifting Focus: Colonial Australian Photography 1850-1920 by Maxwell, Anne; Croci, Josephine [’A collection of essays with contributions from twenty-two Australian art historians, anthropologists and curators examining photography’s documentary and artistic role in colonial times, offering rich, new insights into the ways in which photography helped shape modern Australian society in it early and arguably most formative years.’]
Publishing details: Australian Scholarly Publishing, 2015

Sarnoff Arthur Saron view full entry

Reference: see Kopake auctions, NY, Sun, Jul 28, 2019, lot 681: Arthur Saron Sarnoff (1912-2000). Koalas in Tree. Australia. Signed LL. Oil on canvas board. Illustration art. 24" x 30".

Lindsay Dane or Daen?view full entry

Reference: see McCulloch Alan, Encyclopedia of Australian Art , 2 vols, A-K and L-Z, Hutchinson, 1984, hc, dw.[The later editions have not been indexed]

Lindsay Daenview full entry

Reference: see Abington Auction Gallery, US,
August 1, 2019,, lot 175: Lindsay Daen, American/Australian (1923-2001). Believe the title is 'Ingrid Walking' 1963. Comes with hardcover book signed the artist. Bronze sculpture on wooden base, signed. Bronze is 34.5" H; base 12.75" x 32.5". Condition report: good, with normal wear based on age.

Lindsay Daenview full entry

Reference: Lindsay Daen: The Man and The Sculpture. by Lindsay Daen's Words (Author), compiled by Laura Daen (Author) [’Australian sculptor Lindsay Daen invites us to the inspired world he forged over many decades on three continents. El escultor australiano Lindsay Daen nos invita al mundo que ha creado a través de varias décadas en tres continentes.’]
Publishing details: Publisher: La Editorial, Universidad de Puerto Rico (November 21, 2006), Hardcover: 202 pages
Ref: 1000

Oliver Tonyview full entry

Reference: Requiem for a Dream, catalogue for exhibition at Martin Browne Contemporary
Publishing details: Martin Browne Contemporary, 2019
Ref: 1000

HUME, Ellen Adye (1862-1933) view full entry

Reference: see Davidsons Auction, Sunday, July 21st
Sale 136 Lot 125
HUME, Ellen Adye (1862-1933)
Still Life
Oil on Canvas Board 29x36cm
Provenance: Angeloro family collection.
and

Lot 126: HUME, Ellen Adye (1862-1933) 'Morning Glory at Night' Provenance details verso. Oil on Canvas on Board 60x38cm and
Lot 127: HUME, Ellen Adye (1862-1933) Walk Along the Rocks, Sydney Harbour, likely Cremorne Point. Oil on Canvas Board 39x49cm
and Lot 128: HUME, Ellen Adye (1862-1933) Roses Still Life Oil on Canvas 30.5x61cm Provenance: Angeloro family collection.

PARSONS, A Hedley (1870-1960) view full entry

Reference: see Davidsons Auction, Sunday, July 21st
Sale 136
Sale 136 Lot 140
PARSONS, A Hedley (1870-1960)
Flowers in a Blue Pot, 1931
W/Clr & Gouache 47x38cm
Provenance: Angeloro family collection.
Lot 141: PARSONS, A Hedley (1870-1960) Sydney Beach with Figures, 1904 W/Clr 22.5x38.5cm Provenance: Angeloro family collection.

BOURNE, Shirley (1924-2006) view full entry

Reference: see Davidsons Auction, Sunday, July 21st
Sale 136
Sale 136 Lot 152 BOURNE, Shirley (1924-2006)
Red Bell Flowers
Oil on Board 38x30cm
Provenance: Angeloro family collection.

COGHLAN, Elaine (1897-1989)view full entry

Reference: see Davidsons Auction, Sunday, July 21st
Sale 136 for numerous works by COGHLAN, Elaine (1897-1989)

DALY, Herbert J (1865-1930)
view full entry

Reference: see Davidsons Auction, Sunday, July 21st
2019, Sale 136 Lot 182
DALY, Herbert J (1865-1930)
Salerno Harbour
H J Daly was an exhibitor in the '9 By 5 Impression Exhibition,' 1889.
Oil on Canvas 32x45cm
Provenance: Angeloro family collection.

de Wesselow Francis Guillemand Simpkinson (1819 - 1906)view full entry

Reference: see Colville auction, Hobart, July, 22, 2019, lot 9: Description: Simpkinson de Wesselow (1819-1906) Britain Australia - (Mount Wellington From Sandy Bay) Naval officer and artist arrived Hobart 1844 to work at Ross Bank Magnetic Observatory. 1845 and 1846 exhibited Hobart Town Hall alongside local artists including Skinner Prout, Wainewright and Thomas Bock. 1848 returned to England and later sent some 200 watercolour works to The Royal Society of Tasmania, now in collection TMAG. This is a rare work available from private collection by descent from Robin Hood colonial framer.
Dimensions: 24 x 37cm (sight) 51 x 63cm (fr)
Artist or Maker: Simpkinson de Wesselow (1819-1906) Britain Australia
Medium: Waterolour, chinese white

McCulloch Rosamond (1905-71) Scotland Australiaview full entry

Reference: Rosamond McCulloch (1905-71) Scotland Australia, exhibited atTasmanian Group of Painters 26 Annual Exhibition Tasmanian Art Gallery 19-31 August 1965 Cat#30,31

Meeson Dora - At Lastview full entry

Reference: from Lauraine Diggins Fine Art, July 2019: ‘Dora Meeson
Title
At Last
Year
1896
oil on canvas
96.5 x 122.5 cm
Provenance
the artist
unknown
Deutscher Fine Art, Melbourne
private collection, Melbourne
Exhibited
National Gallery School Travelling Scholarship Prize, Melbourne, 1896
A Selection of Australian and European Paintings 1820 – 1920, Deutscher Fine Art, Melbourne, 11 – 29 May 1981, cat. no. 21
Literature
Dora Meeson Coates, George Coates: His Art and life, London 1937, p.8
Further Information
The National Gallery of Victoria Travelling Scholarship Prize established 1887, awarded every three years, enabled the recipient to travel to Europe to study masterworks and with an acquisition component, see their work enter the collection of the National Gallery of Victoria.
In 1896, the title of At Last was given for students to interpret in their own way, having the year to paint their entry. The finalists were as follows:
George Coates: with a depiction of a figure with a broken leg waiting for the country doctor
Hugh Ramsay: showing visiting charity workers to a family (now in the collection of the Art Gallery of South Australia)
George Pontin: illustrating a sailor’s long-awaited return
Portia Geach: showing a labourer’s return to the meal awaiting him
Dora Meeson: depicting a lucky miner rushing home to tell of his good fortune
It is interesting that Dora Meeson was the only one of the group to interpret the subject with a positive slant. The value placed on the finalists’ paintings has grown exponentially with the passing of time and the accompanying interest in preserving and interpreting Australian cultural history; as well as the increasing rarity of such works, if not already in public collections. Hugh Ramsay’s entry (At Last, 1896) entered the collection of the Art Gallery of South Australia through the Ramsay family in 1991.’

Richardson Charles Douglas view full entry

Reference: from from Lauraine Diggins Fine Art, website, 2019:
The Last of the Flock: An Incident in Australia
Charles Douglas Richardson

The Last of the Flock: An Incident in Australia by Charles Douglas Richardson
Details
Artist
Charles Douglas Richardson
Title
The Last of the Flock: An Incident in Australia
Year
1882
Medium
oil on canvas
Size
76.2 x 50 cm
Details
signed lower left: Douglas Richardson 1882
Sold This artwork has been sold. Please contact us for similar artworks.
Provenance
private collection, Devon, U.K. 1985 Lauraine Diggins Fine Art, Melbourne, 1988 private collection, Sydney
Exhibited
The Australian Impressionists: Their Origins & Influences, Lauraine Diggins Fine Art, Melbourne, Westpac Gallery, Victorian Art Centre, Melbourne, then St Neots, Double Bay 15 Aug - 16 September, 1988, cat. no. 15 (illus)
Literature
Astbury, Leigh The Dog in Australian Art, Art and Australia, 30 February 1997, pp. 242-251
Betley, John, Touch of our art in an old English pub, The Age, Melbourne, 4 August 1973, p. 14
Rose, Margaret, Victorian Artists: Margaret Baskerville 1861-1930 C. Douglas Richardson 1853-1932, Jones Printing Group, 1988, illus. p. 64
Further Information
Charles Douglas Richardson, close friend of Tom Roberts, Frederick McCubbin and Arthur Streeton, is one of the unsung heroes of Australian art. Moreover, Roberts’ Shearing the Rams 1890 (National Gallery of Victoria, Melbourne), McCubbin’s Down on His Luck 1889 (Art Gallery of Western Australia, Perth) and Streeton’s Golden Summer, Eaglemont
1889 (National Gallery of Australia, Canberra) are today celebrated as icons of Australian art. Richardson’s ‘The Last Of The Flock’, An Incident In Australia 1882 deserves to be among them. For it is, arguably, the first major oil painting from this group to devote itself to a major Australian pioneering subject and the great sheep industry in particular. Its title also appears to be another first, ‘The Last of the Flock’ being taken from a 1798 poem by William Wordsworth. In 1890 Streeton followed suit with ‘Still glides the stream, and shall for ever glide’, from Wordsworth’s sonnet Conclusion.
Painted in 1882, while Richardson was studying at the Royal Academy Schools in London, it is set in the Australian landscape, redolent with the times and tribulations of the early settlers. Focused on the hardships of the sheep farmer, the ennobled figure is reminiscent of a sculptural figure by Michelangelo or one from classical antiquity. Strikingly silhouetted against the silvery mist of an early foggy morning, the blood red of his shirt and the tan of the dingo are heightened by the contrasting prominently neutral colour setting. It gives the painting a directness and intensity, the narrative touching on the allegorical in the bloody collision of the native and the newcomers. The shot dingo lies dead at the shepherd’s feet, observed carefully by the faithful collie companion. In the distance, crows feed on the carnage of slain sheep, while a lamb nearby her dead mother, bleats piteously at the farmer. The lamb is the last of the flock.
As a pioneering work in this genre, ‘ The Last of the Flock’, An Incident In Australia, raises the sheep industry and physical labour to a new nobility, soon to grow in popularity in Australian art. It also draws on subjects much admired in European art. In 1880, the National Gallery of Victoria purchased Anguish by the German artist A. T. A. Schenck, showing a ewe standing protectively over the dead body of her lamb, surrounded by a threatening circle of black crows. Richardson most likely knew this painting as it was acquired before he left for England in 1881. The orphaned lamb also echoes a popular British genre subject, exemplified by Thomas Faed’s The Mitherless Bairn. Regarded as the picture of the year at the Royal Academy of 1855, it was likewise purchased by the National Gallery of Victoria in 1886. The metaphoric use of sheep in art was employed by the Pre-Raphaelites, a well known example being William Holman Hunt’s Strayed Sheep 1852, in the collection of the Tate Gallery, London. Of other animals, perhaps none is better known than Hunt’s The Scapegoat of 1854 in the Lady Lever Art Gallery, Port Sunlight.
Richardson’s interest in nationalistic subjects of bushmen and the masculine view of Australian life had its beginnings early in his career. At Melbourne’s Buonarotti Club, Richardson ‘..had laid down the law that artists should paint what was around them, and select incidents from Australian explorers and subjects of a local nature’.¹ His illustrations for McKinley’s Australian Pictorial Almanac of 1880 included Sheep Farming in Australia, Leigh Astbury noting that ‘Richardson’s drawings depict some of the most dominant pastoral and historical themes of late nineteenth-century Australian art’.²
The wool theme continued after his return to Melbourne in 1889, The Sick Shepherd being among his numerous paintings in the 9 x 5 Impression Exhibition, while a Foggy Morning was singled out by Table Talk as ‘one of the best “bits” showing’.³ Another version of The Sick Shepherd, now lost, was in the Victorian Artists’ Society March exhibition of 1890, which also included McCubbin’s A Bush Burial (Geelong Art Gallery). While Richardson’s later works are more symbolist and mystic in intent and content, his sculptures, realized or lost through want of commission, continued his ‘subjects of a local nature’. A particularly fine example was the plaster cast of The Pioneer exhibited at the Victorian Artists’ Society in 1892; and the singular public achievement, The Discovery of Gold monument was set up in marble splendour in Bendigo in 1906.
David Thomas

¹. Minutes of the Buonarotti Club, 1883-87, La Trobe Collection, State Library of Victoria, MS10977, quoted in Leigh Astbury, City Bushmen: e Heidelberg School and the Rural Mythology, Oxford University Press, Melbourne, 1985, p. 20
². Astbury, 1985, p. 60
³. Table Talk, Melbourne, 23 August 1889, p. 4 The wax sculptural relief Wind 1889, now in the National Gallery of Australia, was in the same 9 x 5 exhibition, being an allegorical reference to the heat and oppression of an Australian summer.

Boyd Emma Minnieview full entry

Reference: from from Lauraine Diggins Fine Art, website, 2019: Emma Minnie Boyd
Title
The Letter
Year
1889
Medium
oil on canvas
Size
45.8 x 30.5 cm
Details
signed lower centre: monogrammed
Sold This artwork has been sold. Please contact us for similar artworks.
Acquired by the Art Gallery of South Australia, Adelaide.
Further Information
This work shows a young woman standing by a pair of open French doors that lead off a lounge room and onto a narrow veranda. The woman is wearing a full-length dress made of white summer-weight fabric, which has a high collar, transparent sleeves and a belt around her slim waist. In her left hand she is holding a presentation bunch of pink flowers and her right hand is tucked behind her back. She is looking down and away as if lost in her own thoughts - an opened envelope lies by her feet almost on the doorway threshold. The room is artistically decorated and furnished: there is a cane chair and an upholstered chair, a side table covered in a decorative cloth, richly patterned and coloured Persian-style carpets on the floor, a distinctive ceramic peacock vase containing flowers, several other flower displays and a painted wooden screen. A veranda bench is visible through the doorway and beyond this (backlit by bright sunshine) is a garden.
(text courtesy of Art Gallery of South Australia)

Hilling George 1825-58view full entry

Reference: see Simpson Antiques, on website, July, 2019: COASTAL VIEW - DATED 1843
16.5 x 34.0 cm
George Hilling (1825-58) A watercolour of a New South Wales coastal view with aboriginals dancing, in an Australian cedar frame, signed & dated l.r.

Canvas to campusview full entry

Reference: Canvas to campus : a history of the Bendigo Institute of Technology / by Frank Cusack

Publishing details: Melbourne : Hawthorn Press, 1973, 146p. : plates, with index.

Bendigo Institute of Technologyview full entry