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Taplin RE (Mac) sculptor

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

love tokens

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

tokens - love tokens

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Larcombe Denise - Crown Corning Ware - archive

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Crown Corning Ware - Denise Larcombe - archive

Reference: see Success and failure. ["Success and Failure delves into the Museum of Applied Arts and Sciences collection to find examples of research, design and development that have led to unconventional outcomes, disappointments, challenges and triumphs. Acclaimed Australian writers Bruce Pascoe and Delia Falconer as well as Museum authors have contributed essays sparked by more than 100 collection objects, along with archival material providing insight into the processes behind significant developments. Exploring the origins of porcelain and board games, and innovation in engineering, architecture and design, agriculture, medicine, weapons, sound technology, women's clothing and robotics to name a few, this publication reveals how, surprisingly, nearly every story of success also speaks of failure."--Back cover.
Notes Includes bibliographical references (pages 202-204)]
Publishing details: MAAS Media, Museum of Applied Arts and Sciences, 2020, 215 pages : illustrations (some colour)

Needham Dominic (American, born Australia 1854-1911)

Reference: see SARASOTA ESTATE AUCTION, Florida, USA, 23-4 January, 2021, lot 1098: Signed large pair of oil on canvas paintings of cascade mountain scenes. Born in Australia in August 1853. Needham arrived in northern California in the late 1860s and settled in Marin County. He painted many scenes in and around San Francisco as well as landscapes of the Eel River area, Trinity Alps, and other scenic spots of northern California. He also painted a few portraits including those of his wife Minnie and Emperor Norton. Needham maintained a studio in his home in San Anselmo on Ross Avenue where he died on April 5, 1911. Exh: San Francisco Art Association, 1873; Calif. State Fair, 1881. Overall: 46 x 20 in. Sight: 41 1/2 x 15 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

Larter Pat

Reference: Pat Larter - Get Arted [’Discover the collaborative, provocative, humorous and joyful art of Australian artist Pat Larter in her first solo exhibition in a public art museum
Through her work over 30 years, Pat Larter challenged conventions of the male gaze and stereotypes of female desire and sexuality. From her homes at Luddenham and then Yass, in rural NSW, she became one of the major voices in the international, and fiercely anti-establishment, mail-art movement, coining the term ‘femail’ art.
In spite of her international reputation, Pat Larter was and still is most recognised as the muse of her partner and fellow artist Richard Larter, who painted her with a prolific and insatiable zeal. This exhibition celebrates Pat Larter as an artist, drawing from her extensive archive that includes film, photographs, video of performance, mail art, collage and printmaking. The archive was gifted to the National Art Archive at the Art Gallery of New South Wales by Richard Larter in 1999.’]
Publishing details: Art Gallery of NSW, 2021 (catalogue details to be entered)
Ref: 1000

Larter Pat

Reference: article by John McDonald ‘An uninhibited journey from kinkiness to the political’
Publishing details: Sydney Morning Herald, 23-4 January, 2021, Spectrum, p4.
Ref: 38

Lade Owen

Reference: see eBay listing 25.1.21:
ORIGINAL FRAMED WATERCOLOUR ON PAPER ON BOARD BY WELL KNOWN TASMANIAN ARTIST OWEN G LADE .
THE ARTWORK IS TITLED " APPROACH TO CROKETT'S BEACH, SCHOUTEN ISLAND - WITH BEAR HILL & M/T STOREY. " 
IT IS SIGNED AT THE BOTTOM RIGHT.
IT WAS GIVEN AS A GIFT TO MARGARET & HARRY HODGMAN IN 1979.
 THE ARTWORK MEASURES 12.5 CMS OR 5 INCHES BY 39.5 CMS OR 8 INCHES.
THE FRAMING BOARD MEASURES 10 3/4 INCHES OR 27.5 CMS BY 16 1/2 INCHES OR 42 CMS.
THE ARTWORK IS IN GOOD CONDITION AND COMES IN IT'S ORIGINAL FRAME WHICH ALSO IS IN GOOD
CONDITION WITH MINOR WEAR.
OWEN GOWER LADE WAS BORN IN HOBART IN 1922 AND IS WELL KNOWN IN TASMANIA AS A PAINTER OF
PORTRAITS AND LANDSCAPES. HE HAS A PARTICULAR FOLLOWING FOR HIS VERY UNIQUE PORTRAITS OF
CHILDREN OFTEN SITTING IN CHAIRS WITH ELONGATED ARMS AND PAINTED ALMOST IN THE DOTTED STYLE.
OWEN RECEIVED ART LESSONS FROM DOROTHY STONER FROM 1933 - 1936 AND THEN ATTENDED ART CLASSES AT THE HOBART TECHNICAL COLLEGE UNDER JACK CARRINGTON SMITH.
HE ENLISTED IN THE AIF IN 1941 AND SERVED UNTIL 1944. HE SPENT SOME TIME WORKING AS A SCIENTIST ON
THE MAINLAND BEFORE RETURNING TO TASMANIA.
OWEN BEGAN PRIVATE ART LESSONS WITH HELEN CRABBE AND THEN STUDIED AT THE LAUNCESTON TECHNICAL 
COLLEGE UNDER GEOFF TYSON, ALAN McINTYRE AND DESIDERUS BARRISS FROM 1964-1966, THEN WITH GEOFF TYSON
FROM 1967 - 1970.
HE COMMENCED PAINTING HIS PORTRAITS OF CHILDREN IN 1970.
OWEN LADE HELD MANY SOLO AND JOINT EXHIBITIONS FROM 1955 THROUGH TO 1983.
HE IS REPRESENTED IN COLLECTIONS AT THE ANG, CANBERRA, TMAG, QVMAG, DEVONPORT AG,
COASTAL ART GROUP, BURNIE, NATIONAL TRUST, TASMANIA AND MANY PRIVATE COLLECTIONS.
OWEN LADE PASSED AWAY IN 2007 AT DEVONPORT, TASMANIA.

TITLE: " APPROACH TO CROKETT'S BEACH, SCHOUTEN ISLAND WITH BEAR HILL AND M/T STOREY. "
SIGNED AT BOTTOM RIGHT.

THE ORIGINAL WATERCOLOUR IS IN GOOD CONDITION AND IS IN THE ORIGINAL FRAME WHICH IS IN GOOD CONDITION WITH MINOR WEAR. THE ARTWORK IS SIGNED AT THE BOTTOM RIGHT, IT HAS THE TITLE ON THE REVERSE SIDE. PLEASE CHECK THE PICTURES PROVIDED TO HELP YOU GET A BETTER IDEA OF THE CONDITION AND DESCRIPTION OF THE ARTWORK.
TITLED ON RESERVE SIDE AND SIGNED  LOWER RIGHT.
THIS ARTWORK WAS SENT AS A GIFT TO MARGARET & HARRY HODGMAN BY OWEN WHO KNEW HARRY AS AN ART DEALER, AUCTIONEER AND A FRIEND.
IT HAS THE TITLE PLUS MESSAGE TO THE HODGMANS AND IS DATED 1979 ON THE REVERSE SIDE.

Linear

Reference: Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.
Ref: 38

Aboriginal art

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

West Vicki

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Clarke Maree

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Quilliam Wayne

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Simpson Lucy

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Ngallametta Mr Jnr

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Ngallametta Mr Snr

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Jade Mikaela

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Singleton Bernard

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Connolly-Northey Lorraine

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Nicholls Glenda

Reference: see Linear [’This exhibition is an exploration of the significance of line and lineage within Indigenous narratives and practices. It brings together the unique, diverse and personal voices of 12 leading Indigenous cultural practitioners from across Australia, alongside artworks and objects from the collection. Led by the Powerhouse’s Head of Indigenous Engagement and Strategy, Marcus Hughes, and with design by the award-winning Jacob Nash, the exhibition explores themes of songline, lineage and cultural legacy through the stories, content and work from artists including Lorraine Connelly-Northey, Maree Clarke, Mikaela Jade, Nicole Monks, Mr Ngallametta Snr, Mr Ngallametta Jnr, Glenda Nicholls, Wayne Quilliam, Allery Sandy, Lucy Simpson, Bernard Singleton, Lynette Wallworth, and Vicki West. Ngarinyin Elder David Mowaljarlai’s visual map of lines that tie this country together, culturally, spiritually and physically, is at the core of this exhibition. These lines hold meaning beyond a mark on a map; they describe everything — Land, People and Story. Whilst many of the stories in the exhibition might appear to be discrete, they are multi-dimensional and deeply interconnected. Even though they seem to travel to the right, to the left or straight ahead the narrative lines are always crossed.’]
Publishing details: Powerhouse Museum, 2021, 16pp folding sheet.

Walters Wes

Reference: see Joels auction sale, Sale LJW8349
Thursday 28 January, 2001, included about 75 works by Wes Walters. lots 3001-3074, including:
Lot 3066 ♡
ARTISTS' SKETCHBOOK BY WES WALTERS C.1948

26 x 22cm

PROVENANCE:
Estate of the Artist

LITERATURE:
Thomas, D., Walters: Art of Realism & Abstraction, Macmillian, 2009, p. 26 (illus. page of sketchbook 'Head Studies')

Walters Ren

Reference: see Joels auction sale, Sale LJW8349
Thursday 28 January, 2001, included about 3 works by Ren Walters, icluding:
Lot 3066 ♡
ARTISTS' SKETCHBOOK BY WES WALTERS C.1948

26 x 22cm

PROVENANCE:
Estate of the Artist

LITERATURE:
Thomas, D., Walters: Art of Realism & Abstraction, Macmillian, 2009, p. 26 (illus. page of sketchbook 'Head Studies') (auction also included 75 works by Wes Walters. lots 3001-3074

Perry Samuel Augustus 1787-1854

Reference: see Bonhams, Travel & Exploration
10 Feb 2021, London, Knightsbridge, lot 17: ATTRIBUTED TO SAMUEL AUGUSTUS PERRY (LONDON 1787-1854 AUSTRALIA)
A view believed to be towards the Hawkesbury River in New South Wales, Australia
watercolour
22.2 x 32.7cm (8 3/4 x 12 7/8in).
unframed

Maton guitars

Reference: Maton: Australia’s Guitar. Exhibition catalogue, Museum of Applied Arts & Sciences. Collection of Wadih Hanna. Over 130 works illustrated.
Publishing details: Museum of Applied Arts & Sciences 2020-21, 12-page folding catlogue
Ref: 38

Hanna Wadih

Reference: Maton: Australia’s Guitar. Exhibition catalogue, Museum of Applied Arts & Sciences. Collection of Wadih Hanna. Over 130 works illustrated.
Publishing details: Museum of Applied Arts & Sciences 2020-21, 12-page folding catlogue

Johnson Tim

Reference: Public Fitting. [[’Being the artist’s candid shots taken in various outdoor Sydney locations of anonymous young women, their skirts lifted by the wind to reveal their underwear; the book’s contents are in very good condition; loosely inserted is Johnson’s mimeographed 3-page introduction and exegesis of his work, which includes the date, time and precise location of every photograph. The personal copy of renowned Australian photographer Rennie Ellis, accompanied by a handwritten letter from Johnson to Ellis (1 page, quarto) on Johnson’s letterhead with his 54 Albemarle Street, Newtown address: ‘Dear Rennie, glad to hear you like the book. I’m currently teaching out at a co-ed high school and taking hundreds of photographs – illustrating new teaching methods, eroticism, relationships etc. within the school. These’ll eventually come out in book form too. Best wishes, Tim Johnson’.
Rare early work by the important Sydney experimental and conceptual artist Tim Johnson (b. 1947). According to the AGNSW, which also holds the artist’s original 1972 short film of the same title, only 200 copies of Public Fitting were printed.
Even at the time, Public Fitting sailed close to the wind (as it were). It seems reasonable to speculate that if it were published today, Public Fitting would most likely meet with far more opprobrium than it engendered in 1972.
John McDonald in his SMH column, published May 9 2009, wrote:
‘A dedicated documenter of performances, Johnson also had an instinct for publicity and controversy. The actions he called Disclosures (1972) involved people rearranging each others’ clothing, or men and women lying motionless on the floor while the artist lifted their shirts or pulled down their pants. When some of the male participants resisted this was seen as an interesting twist.
One of the Disclosures events caused a stir at the University of Queensland, leading to lurid reports in the Courier Mail – how times have changed! – and questions in Parliament. Nowadays it all seems a bit silly and sordid. The same might be said about Public fitting (1972), a short film and a series of photos of girls accidentally showing their knickers as the wind lifts their mini skirts. In the catalogue Johnson is earnestly described as “exploring eroticism” in these works, but they are things that might amuse snickering teenage boys….’ From Douglas Stewart Fine Books, 2021.]
Publishing details: Newtown, N.S.W. : Tim Johnson, 1972]. Small quarto (252 x 196 mm), original yellow wrappers with stencilled title to front; [1 colophon], [1 title], [40] leaves, all photographic illustrations
Ref: 1000

Dangar Anne et al

Reference: 4e Exposition de l’Association des Artistes modernes Americains et Anglais. Essay by Bertha Fanning Taylor, list of artists, including the Australian expatriate Anne Dangar. [’Anne Dangar (1 December 1885 – 4 September 1951) was an Australian painter and potter, born in Kempsey on the mid-north coast of New South Wales. From 1906 Dangar studied at te Julian Ashton School and in 1926 she travelled to Paris where she studied at André Lhote’s Academy in Paris, adopting a cubist style. Receiving little recognition during her lifetime, Dangar is now considered one of the pioneers of Australian modernism.
The list of artists involved in this exhibition are Bassett, Bion Barnett, Michael Baxte, William Bradley, Frank Brown, Anne-Marie Case, Mary Caumartin, Ruth Collett, Elisabeth McCord, Lillian Cotton, Francis Day, Helena Day, Hussy Degen, Matilda Dordet, Romilly Fedden, Bessie Gibson, Caroline Hill, Murray Hoffman, Henrietta Hoops, Dorothy Kohlkopp, Elise Lacroix, Norma Leonard, Constance Lloyd, Muriel, M. Norris, Nadine Oxnard, M. Secor Roper, Nadia Sanzewitch, Maud Sumner, Fanning Taylor, Grace Temple, Waldo Wallis, Mary Day-Watrous, John Watson, Anne Dangar, Wilmer Hoffman, Caroline Lloyd, Mariette Mills, Clare Scheridan, Katherine Wallis, E.-T. Rosen, Eugene Vail.
Rare, no copy traced in Australian collections.’ Douglas Stewart Fine Books, 2021]
Publishing details: Paris : Galerie de Paris, 1935. Octavo, single sheet, folded
Ref: 1000

Kngwarreye Emily Kame

Reference: Emily Kame Kngwarreye : the person and her paintings. Edited by Anne Runhardt; essays researched and written by Victoria King.
Publishing details: Melbourne : Dacou Aboriginal Gallery, 2009. Quarto, illustrated wrappers, pp. 235, small stain upper edge, illustrated.
Ref: 1000

ROAR re-viewed

Reference: ROAR re-viewed 30 years on, with an introduction by Sasha Grishin. , text by Denise Morgan. The pink boards variant (another version had the boards coloured black). A publication on the Melbourne Roar Studios and the artists who were its contigents. Sasha Grishin not only descirbed ROAR primarily as a cultural phenomenon, as well as an art movement in 1980s Melbourne and also the group of artists who were part of ROAR. Contains text on the artists and their works including Wayne Eager, Sarah Faulkner, Andrew Ferguson, Peter Ferguson, Pasquale Giardino, Karan Hayman, Ann Howie, David Larwill, Michael Nicholls, Jill Noble, Mark Schaller and Judi Singleton. A new copy.
Read More

Publishing details: Melbourne : Macmillan, 2011. Quarto, cloth-covered boards with paste-down illustration, stitching exposed on spine with title (as issued), illustrated thoroughly throughout
Ref: 1000

Smart Sally

Reference: Sally Smart : The Unhomely Body series ; Femmage, Shadows and Symptoms series. Published to coincide with the exhibition Sally Smart: Femmage, Shadows and Symptoms, Fukuoka Art Gallery, Fukuoka, Japan, May 1999. Illustrated throughout with reproductions of the artist’s works.
Publishing details: Melbourne : Sally Smart, 1999. Quarto, pictorial wrappers (lightly marked), pp 51.
Ref: 1000

Strachan David

Reference: A survey by David Strachan 1955 – 1968,
catalogue of 48 works. Foreword by Daniel Thomas.  
Publishing details: Brisbane : The Johnstone Gallery, 1968. Oblong quarto, illustrated cards, pp. 4,
Ref: 1000

Prizing diversity

Reference: Prizing diversity : the Josephine Ulrick prizes, 1998-2014, edited by Virginia Rigney and Nigel Krauth. To be indexed] [’This publication celebrates the generosity of two Gold Coast arts identities – Win Schubert and the late Josephine Ulrick – who have, since 1992, sponsored short story, poetry and photography awards administered by the Gold Coast City Gallery and Griffith University.
Here the dichotomy of ‘word and image’ is addressed in a volume that brings visual and literary forms of expression together in an exciting and unusual way. It presents, in chronological order, the prize-winning entries of each year. The photography now forms part of the Gold Coast City Gallery’s notable contemporary photography collection while the winning short stories and poems have frequently gone on to be published in literary journals and anthologies. Of great significance are the judges, who have included major Australian literary figures and leading art photographers and collectors. Their names and comments are included in the book, giving it additional interest to a wide readership. The book has been designed in a way that captures the particular spirit and ambience of the Gold Coast and conveys the characteristics of the special range of talents that these awards attract.
Includes works by Shaun Gladwell, Polixeni Papapetrou, Shayne Higson, Julie Rrap, Jacky Redgate, Darren Sylvester, Liam Benson, John Gollings, and many others

Publishing details: Melbourne : Thames & Hudson Australia, 2015. Quarto, illustrated laminated boards, pp. 271, illustrated.
Ref: 1000

Amor Rick

Reference: Rick Amor : standing in the shadows
Publishing details: McClelland Gallery+Sculpture Park, 2005. Quarto, illustrated wrappers, pp. 124, illustrated. Exhibition held 8 May-26 June at McClelland Gallery+Sculpture Park. Exhibition curator : Robert Lindsay. Printed in an edition of 2000 copies (an additional 100 hardcover copies were also printed
Ref: 1000

Bromley David

Reference: David Bromley : the story road 2005 Introduction by Ashley Crawford.
Publishing details:
Melbourne : Scott Livesey Art Dealer, 2005. Quarto, illustrated wrappers, pp. 40, colour illustrations throughout.
Ref: 1000

Warren Alan

Reference: Alan Warren 1919 – 1991 Exhibition Essay by Christopher Heathcote.
Publishing details: Melbourne : Eastgate Gallery, 1992. Quarto, wrappers (rubbed), illustrated front, pp. [12], catalogue of 38 works with full colour illustrations.
Ref: 1000

Santiago Marikit

Reference: see Look magazine, February-March, 2021, artist’s choice of works in the AGNSW. p21-3.
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Kennedy Roy

Reference: see Look magazine, February-March, 2021, in article ‘Longing for Home’ by Erin Vink, p35-8
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Maynard Ricky photographs

Reference: see Look magazine, February-March, 2021, in article ‘Longing for Home’ by Erin Vink, p35-8
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

West Carlene

Reference: see Look magazine, February-March, 2021, in article ‘Longing for Home’ by Erin Vink, p35-8
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Tiatia Angela

Reference: see Look magazine, February-March, 2021, in article ‘I have the power’, p40-43
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Tiatia Angela

Reference: see Look magazine, February-March, 2021, in article ‘I have the power’, p40-46
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Hinder Margel

Reference: see Look magazine, February-March, 2021, article ‘Certain principles’ by Geoffrey Batchen on upcoming exhibition at the AGNSW.
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Woodward Margaret

Reference: see Look magazine, February-March, 2021, article p60-64
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Perceval John angel with trumpet ceramic

Reference: see Look magazine, February-March, 2021, in article p66-7
Publishing details: Art Gallery Society of New South Wales, 2021, 81pp

Potosi Ruben

Reference: see Auction Lifem February 17, 2021,
Loxahatchee, FL, US, lot Lot 225: RUBEN POTOSI CARVED WOOD MOTHER & CHILD SCULPTURE, Australian artist. Hand carved figure of a mother holding a child. Signed "Rubén Potosi" & "/93". Measures 9-1/2" H x 6" W x 5" D. Weighs 2lbs., 4oz. U.S. SHIPPING $20 + INSURANCE.

Richmond Oliffe

Reference: Oliffe Richmond drawings : the Australian years 1937-1948 by Christa E. Johannes. "Tasmanian Museum and Art Gallery, Hobart 23 August-8 October 1989. Queen Victoria Museum and Art Gallery, Launceston 19 October-10 December 1989'. Bibliography: p. 11.
Publishing details: Tasmanian Museum and Art Gallery, 1989, 36 p. : chiefly ill.
Ref: 1009

Up front : faces of Australia at war

Reference: Up front : faces of Australia at war. Includes bibliographical references. [to be indexed]
Publishing details: Canberra : Australian War Memorial, 1998 
32 p. : col. ports
Ref: 1009

war art

Reference: see Up front : faces of Australia at war. Includes bibliographical references.
Publishing details: Canberra : Australian War Memorial, 1998 
32 p. : col. ports

102 collection of Australia's leading cartoonists

Reference: The 102 collection of Australia's leading cartoonists. Published for the Black & White Artists’ Club. Includes brief biographies of each of the 102 cartoonists included together with an example of their work.
Publishing details: Lilyfield Publishers, [198-] 
[54] p. : ill.

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