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Smith Grayview 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]

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Smith Gray

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]

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Cambridge Companion to Australian Art Theview full entry

Reference: The Cambridge Companion to Australian Art, edited by Jaynie Anderson.

Editor's preface
1. Introduction Jaynie Anderson
2. Special places and images on rock:
50,000 years of indigenous engagement with Australian landscapes Paul Tacon
3. Encountering an Aboriginal aesthetic from the eighteenth to the twentieth century Philip Jones
4. Home: expressions of social identity from the 1820s to 1860s Mary Eagle
5. Cultural acclimatization: Australian colonial art within the British Empire Alison Inglis
6. National life and landscape: the Heidelberg School as mythmaker 1880–1905 Ann Galbally
7. Australian artists within a wider world 1900–1920 Anne Gray
8. Print – matters Roger Butler
9. Foreign natives: Australian modernism 1915–1955 Anthony White
10. Art in central Australia: refigured ground John Carty and Alison French
11. Transformations of bark painting from the nineteenth century until today Luke Taylor
12. Coming to terms with Aboriginal art in the 1960s Howard Morphy
13. When and what was the 1960s? Andrew McNamara and Ann Stephen
14. The gift that time gave: myth and history in the Western Desert painting movement Ian McLean
15. Photography and Australia Isobel Crombie
16. Picturing self-determination: the use of photography by Australian indigenous artists Jonathan Jones
17. 'Asian art' and Australia John Clark
18. Post-provincial, still peripheral: Australian art on the global stage, 1980–2009 Anthony Gardner
19. Transnational virtuality: new media art, contemporary concerns Terence Smith
20. The cross-cultural art museum in Australia Gerard Vaughan
21. Buying and selling Australian art: a brief historical survey Jane Clark and Wally Caruana.

[’From rock art to Australian modernism, from bark paintings to the Heidelberg School, The Cambridge Companion to Australian Art provides a wide-ranging overview of the movements, themes and media found in Australian art. This Companion features essays that explore the influence of different cultures on Australian art, written by some of the leading scholars and professionals working in the field. Generously illustrated with over 200 colour images, from more than 40 collections and sites throughout Australia, this Companion provides a comprehensive exploration of the artistic identity of past and present Australia.

Generously illustrated with over 200 colour images from over 40 collections and sites throughout Australia

Essays from leading academics and gallery professionals on artists, movements, themes and media in Australian art

Includes chapters on early colonial art, Australian modernism, the Heidelberg School, print, photography, 1960s art, 'Asian Art' and Australia, and buying and selling Australian art

Extensive coverage of indigenous art, including rock art, bark paintings, central Australian art, the Western Desert painting movement, 1960s Aboriginal art, photography and Aboriginal artists’]
Publishing details: Cambridge University Press, 2011, pb, 377 with index

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Cambridge Companion to Australian Art The

Reference: The Cambridge Companion to Australian Art, edited by Jaynie Anderson.

Editor's preface
1. Introduction Jaynie Anderson
2. Special places and images on rock:
50,000 years of indigenous engagement with Australian landscapes Paul Tacon
3. Encountering an Aboriginal aesthetic from the eighteenth to the twentieth century Philip Jones
4. Home: expressions of social identity from the 1820s to 1860s Mary Eagle
5. Cultural acclimatization: Australian colonial art within the British Empire Alison Inglis
6. National life and landscape: the Heidelberg School as mythmaker 1880–1905 Ann Galbally
7. Australian artists within a wider world 1900–1920 Anne Gray
8. Print – matters Roger Butler
9. Foreign natives: Australian modernism 1915–1955 Anthony White
10. Art in central Australia: refigured ground John Carty and Alison French
11. Transformations of bark painting from the nineteenth century until today Luke Taylor
12. Coming to terms with Aboriginal art in the 1960s Howard Morphy
13. When and what was the 1960s? Andrew McNamara and Ann Stephen
14. The gift that time gave: myth and history in the Western Desert painting movement Ian McLean
15. Photography and Australia Isobel Crombie
16. Picturing self-determination: the use of photography by Australian indigenous artists Jonathan Jones
17. 'Asian art' and Australia John Clark
18. Post-provincial, still peripheral: Australian art on the global stage, 1980–2009 Anthony Gardner
19. Transnational virtuality: new media art, contemporary concerns Terence Smith
20. The cross-cultural art museum in Australia Gerard Vaughan
21. Buying and selling Australian art: a brief historical survey Jane Clark and Wally Caruana.

[’From rock art to Australian modernism, from bark paintings to the Heidelberg School, The Cambridge Companion to Australian Art provides a wide-ranging overview of the movements, themes and media found in Australian art. This Companion features essays that explore the influence of different cultures on Australian art, written by some of the leading scholars and professionals working in the field. Generously illustrated with over 200 colour images, from more than 40 collections and sites throughout Australia, this Companion provides a comprehensive exploration of the artistic identity of past and present Australia.

Generously illustrated with over 200 colour images from over 40 collections and sites throughout Australia

Essays from leading academics and gallery professionals on artists, movements, themes and media in Australian art

Includes chapters on early colonial art, Australian modernism, the Heidelberg School, print, photography, 1960s art, 'Asian Art' and Australia, and buying and selling Australian art

Extensive coverage of indigenous art, including rock art, bark paintings, central Australian art, the Western Desert painting movement, 1960s Aboriginal art, photography and Aboriginal artists’]

Publishing details: Cambridge University Press, 2011, pb, 377 with index

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Smith Grayview full entry

Reference: Gray Smith (1919-1990) was an epileptic who suffered 'grand mal' seizures from the time of his mid teens. The epilepsy formed and toned his life; he no longer perceived control and destiny over his life. The epilepsy controlled him. He became an observer of 'man'. He was a man outside, silently forbidden to become the socially constructed 'Aussie bloke'. Gray through his isolation of self and personal rejection of the illness developed a strong sense of irony in his artwork and poetry.


His artwork throughout the 1950's evolved the romanticized 'Aussie bloke'. This man too, was isolated and at odds with the landscape. The theme of isolation and dislocation from either landscape or society was a reoccurring theme and developed many forms throughout his life.


Joy Hester was young, given 9 months to live, a child at her helm, an often absent (working war artist), husband (Albert Tucker), her artwork, poetry and poverty. She was a woman needing to escape. Gray was young, working in a picture framing business at the back of his mothers' shop, with a wife and small child, frequent seizures and no time to really paint and live. Joy and Gray were drawn to each other, drawn to escape. They cared and nurtured each other for 13 years. They drew strength from each other and developed their own sense of self. They both developed their own unique styles of art practice. This period 1947-1960 culminated into two solo exhibitions at the Gallery of Contemporary Art, Tavistock Place and Melbourne.


The Reeds were wealthy, prominent art patrons who encouraged and financially supported many artists, throughout their lives. They, with many others, forged the development of the Modern Art Movement in Melbourne. Gray had a precarious relationship with the Reeds, who paid him a stipend until they died in the 1980's. Their relationship was clouded with the Reeds adopting Joy's first son, Joy and Gray wished to live at Heidi to be closer to the Reeds, this was not to be. However, the myth of their torrid relationship does not equate with their correspondence, which shows both affection, and care, Gray corresponded with the Reeds until they died.


After Joy died, Gray and Joan Davis married with 2 children each. They left Melbourne, Gray's home, and moved to Canberra, a then developing public service town, and the seat of the Federal Government of Australia.
They were a collaborative team, Joan assisting in research and Gray painting. This is perceived as the height of his career, 1961-1975. With his developed sense of 'man' formulating during the 1950's, the threads of history came into play to give this ironic man a context and a backdrop.

The first research project was the outback New South Wales. The family went to the outback where Joan's family came from. Grays' paintings developed a colour that had been absent which enriched the landscape and developed its vastness. "Outback Paintings" Leverson Street Gallery, Melbourne and Gallery A, Canberra. Gray and Joan worked as a team on many more projects. The Canberra Paintings, some of which were reproduced in a book by Samuel Shumack, 'Tales and Legends of Canberra Pioneers. Other series included The 'Eurimburra Legends' and 'Captain Cook' series and The 'Daisy Bates' series, as shown on the ABC. The Daisy Bates series was researched and developed by Professor Tulip. Gray painted his interpretations of Tulips research.


Through ill health, Gray retired from the hectic life of promoting his art work, yet he continued to paint for his own pleasure. His last exhibition was in 1975 at Solander Gallery in Canberra and his last painting in 1990 the year he died.
By Fern Smith 2004-7
Source
State Library of Victoria - Australian manuscripts
Dear Sun - J. Bourke
Joy Hester - J. Bourke
Tapes collected 1993-5
Smith Estate

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Smith Gray

Reference: Gray Smith (1919-1990) was an epileptic who suffered 'grand mal' seizures from the time of his mid teens. The epilepsy formed and toned his life; he no longer perceived control and destiny over his life. The epilepsy controlled him. He became an observer of 'man'. He was a man outside, silently forbidden to become the socially constructed 'Aussie bloke'. Gray through his isolation of self and personal rejection of the illness developed a strong sense of irony in his artwork and poetry.


His artwork throughout the 1950's evolved the romanticized 'Aussie bloke'. This man too, was isolated and at odds with the landscape. The theme of isolation and dislocation from either landscape or society was a reoccurring theme and developed many forms throughout his life.


Joy Hester was young, given 9 months to live, a child at her helm, an often absent (working war artist), husband (Albert Tucker), her artwork, poetry and poverty. She was a woman needing to escape. Gray was young, working in a picture framing business at the back of his mothers' shop, with a wife and small child, frequent seizures and no time to really paint and live. Joy and Gray were drawn to each other, drawn to escape. They cared and nurtured each other for 13 years. They drew strength from each other and developed their own sense of self. They both developed their own unique styles of art practice. This period 1947-1960 culminated into two solo exhibitions at the Gallery of Contemporary Art, Tavistock Place and Melbourne.


The Reeds were wealthy, prominent art patrons who encouraged and financially supported many artists, throughout their lives. They, with many others, forged the development of the Modern Art Movement in Melbourne. Gray had a precarious relationship with the Reeds, who paid him a stipend until they died in the 1980's. Their relationship was clouded with the Reeds adopting Joy's first son, Joy and Gray wished to live at Heidi to be closer to the Reeds, this was not to be. However, the myth of their torrid relationship does not equate with their correspondence, which shows both affection, and care, Gray corresponded with the Reeds until they died.


After Joy died, Gray and Joan Davis married with 2 children each. They left Melbourne, Gray's home, and moved to Canberra, a then developing public service town, and the seat of the Federal Government of Australia.
They were a collaborative team, Joan assisting in research and Gray painting. This is perceived as the height of his career, 1961-1975. With his developed sense of 'man' formulating during the 1950's, the threads of history came into play to give this ironic man a context and a backdrop.

The first research project was the outback New South Wales. The family went to the outback where Joan's family came from. Grays' paintings developed a colour that had been absent which enriched the landscape and developed its vastness. "Outback Paintings" Leverson Street Gallery, Melbourne and Gallery A, Canberra. Gray and Joan worked as a team on many more projects. The Canberra Paintings, some of which were reproduced in a book by Samuel Shumack, 'Tales and Legends of Canberra Pioneers. Other series included The 'Eurimburra Legends' and 'Captain Cook' series and The 'Daisy Bates' series, as shown on the ABC. The Daisy Bates series was researched and developed by Professor Tulip. Gray painted his interpretations of Tulips research.


Through ill health, Gray retired from the hectic life of promoting his art work, yet he continued to paint for his own pleasure. His last exhibition was in 1975 at Solander Gallery in Canberra and his last painting in 1990 the year he died.
By Fern Smith 2004-7
Source
State Library of Victoria - Australian manuscripts
Dear Sun - J. Bourke
Joy Hester - J. Bourke
Tapes collected 1993-5
Smith Estate

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Smith Grayview full entry

Reference: in a copy of The Science of Appearances, as formulated and taught by Max Meldrum, offered on eBay 12.12, there was a letter dated 12 Nov 1950 from 24 Belmont Ave Kew in the back cover sleeve from Max Meldrum (signed) to Gray asking him for his term lesson fees of Eight pound eight shillings

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Smith Gray

Reference: in a copy of The Science of Appearances, as formulated and taught by Max Meldrum, offered on eBay 12.12, there was a letter dated 12 Nov 1950 from 24 Belmont Ave Kew in the back cover sleeve from Max Meldrum (signed) to Gray asking him for his term lesson fees of Eight pound eight shillings

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Smith Gray - 6 referencesview full entry

Reference: For references to this artist see Australian Artists’ Index - a biographical Index of Australian Artists, craft workers, photographers and architects. Compiled by Jan McDonald. Over 10000 names are listed, sourced from a selection of the 416 pre-1986 Australian art reference books which have been indexed by Jan McDonald.
Publishing details: Arts Libraries Societies, Australia and New Zealand, (ARLIS/ANZ) Sydney, 1986, pb, 432pp

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Smith Gray - 6 references

Reference: For references to this artist see Australian Artists’ Index - a biographical Index of Australian Artists, craft workers, photographers and architects. Compiled by Jan McDonald. Over 10000 names are listed, sourced from a selection of the 416 pre-1986 Australian art reference books which have been indexed by Jan McDonald.

Publishing details: Arts Libraries Societies, Australia and New Zealand, (ARLIS/ANZ) Sydney, 1986, pb, 432pp

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Cambridge Enidview full entry

Reference: see eBay listing 251488715393 April 2014: Enid Helen Gray Cambridge (1903-76)

Painter and Teacher

Well Known for her Gentle and Delicate Modernist Watercolour Paintings

Born in Mosman, Sydney in 1903, died in Sydney 1976

Studied at Julian Ashton Art School Sydney Under Julian Ashton, Ann Dangar and Grace Crowley 1919-1922

Attended Roland Wakelin Art Class in Chatswood and Waverton Sydney 1926

Also with Oscar Kokoschka in Salzburg Germany in 1959

Taught at Sydney Girls Grammer School as Art Teacher between 1939-1976

Held 12 Solo Exhibitions at Macquarie Art Gallery Sydney

A Member of the NSW Society of Artists and The Contemporary Group

Won Prizes at Bendio 1948, Mosman 1954, Hunter's Hill 1962

A Close Friend of Grace Crossington Smith

Her Work was represented in a important exhibition "Australian Women Artists 1840-1940"

<Work Represented>

National Gallery of Australia, Canberra

Art Gallery of NSW, Sydney

National Gallery of Victoria, Melbourne

Art Gallery of South Australia, Adelaide

Queensland Art Gallery, Brisbane

Newcastle Regional Art Gallery

Howard Hinton Collection\

Sydney University Art Collection

Manly Art Gallery and Museum

Bendigo Art Gallery

Ballarat Art Gallery

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Cambridge Enid

Reference: see eBay listing 251488715393 April 2014: Enid Helen Gray Cambridge (1903-76)

Painter and Teacher

Well Known for her Gentle and Delicate Modernist Watercolour Paintings

Born in Mosman, Sydney in 1903, died in Sydney 1976

Studied at Julian Ashton Art School Sydney Under Julian Ashton, Ann Dangar and Grace Crowley 1919-1922

Attended Roland Wakelin Art Class in Chatswood and Waverton Sydney 1926

Also with Oscar Kokoschka in Salzburg Germany in 1959

Taught at Sydney Girls Grammer School as Art Teacher between 1939-1976

Held 12 Solo Exhibitions at Macquarie Art Gallery Sydney

A Member of the NSW Society of Artists and The Contemporary Group

Won Prizes at Bendio 1948, Mosman 1954, Hunter's Hill 1962

A Close Friend of Grace Crossington Smith

Her Work was represented in a important exhibition "Australian Women Artists 1840-1940"

<Work Represented>

National Gallery of Australia, Canberra

Art Gallery of NSW, Sydney

National Gallery of Victoria, Melbourne

Art Gallery of South Australia, Adelaide

Queensland Art Gallery, Brisbane

Newcastle Regional Art Gallery

Howard Hinton Collection\

Sydney University Art Collection

Manly Art Gallery and Museum

Bendigo Art Gallery

Ballarat Art Gallery

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Smith Grayview full entry

Reference: see New Painting 1952-62 by John Reed. The National Gallery of Victoria’s Arts in Australia series includes Early Australian Painting (2 editions), Pottery, Painting, Religious Art in Australia, Architecture, Design, Aboriginal Art, Australian Landscape Painting, Contemporary Drawing, Printmaking, Commercial Art, Australian Impressionists, Sculpture, New Painting 1952-62, Four Contemporary Australian Landscape Painters (2 editions), Australian Abstract Art, Theatre, Ballet. Other NGV booklets included Renaissance Art by James Mollison, The Barbizon Painters by Ruth Zubans and French Impressionists ans Post-Impressionism by Margaret Garlick.
Publishing details: published by Longmans, 1963, pb, 48pp

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Smith Gray

Reference: see New Painting 1952-62 by John Reed. The National Gallery of Victoria’s Arts in Australia series includes Early Australian Painting (2 editions), Pottery, Painting, Religious Art in Australia, Architecture, Design, Aboriginal Art, Australian Landscape Painting, Contemporary Drawing, Printmaking, Commercial Art, Australian Impressionists, Sculpture, New Painting 1952-62, Four Contemporary Australian Landscape Painters (2 editions), Australian Abstract Art, Theatre, Ballet. Other NGV booklets included Renaissance Art by James Mollison, The Barbizon Painters by Ruth Zubans and French Impressionists ans Post-Impressionism by Margaret Garlick.

Publishing details: published by Longmans, 1963, pb, 48pp

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HESTER, Joy (1920-1960)view full entry

Reference: HESTER, Joy (1920-1960)
'Baby Boy' brush & ink bw DAAF p.84
'Child of the High Seas' wc bw JBBA no.112
'Drawings' (two) ? bw DVID pp.202,203
'Dreadful Night' bw CAWP p.204
'Face' ink wash bw LCDR p.21
'Face' ink, brush, pen col HRPR p.124
'Face (from 'Faces Series')' ink brush & pen bw BAWA p.108
'Face of a Woman' brush ink wash bw WADT p.79
'Faces' brush ink wc bw WADT p.76
'Fun Fair' brush ink wc pastel col AASC P. 29
'Fun Fair' brush ink wc pastel bw AASC p.173
'Gethsemane' pen ink gouache col SOYA p.139
'Girl with Cocky' ? bw MEAA p.639
'Girl with Hen' brush ink col MOAP p.139
'Girl with Hen' brush ink bw DAAF p.85
'Gray Smith' wc bw JBBG no.82
'The Handkerchief' dry brush ink bw WADT p.81
'Harry' mix bw AASC p.146
'Head of a Women with a Hat' brush ink wash bw WADT p.80
'Head of a Woman with Hat (Women in Hat with Blue Eyes)' ink wash with pastel bw BAWA p.109
'Love' brush ink wash pastel bw WADT p.78
'Love (from "Love Series") ink & brush on litho bw BAWA p.108
'Love Series' (drawing) brush ink bw SOYA p.140
'Love Series' (drawing) brush ink bw DAAF p.25
'Lovers' brush ink, wc col MANG p.251
'The Lovers' wc gouache & enamel bw HRPR p.124
'Lovers Series' (two ill)' wc bw JBBA nos.110,111
'Lovers Series' (an example) wc bw JBBB no.133
'Mad Girl' oil bw AASC p.147
'Man and Woman in Bed' brush ink pastel char bw WADT p.78
'Man's Head No.1' ink & gouache bw WCAD p.8
'Mexican Woman' brush & gouache, penc bw AASC p.149
'Nude Study' wc bw JBAH no.40
'Nude Study for Pauline McCarthy' wc bw JBBF no.165
'Portrait of a Girl' oil bw JBAZ no.75
'Portrait of Michael Keon' oil bw AASC p.135
'Reclining Floating Nude' wc bw MORN p.32
'The Secret Life of Birds' brush & ink bw MEAB ill.40
'The Secret Life of Birds' brush & ink bw WADT p.76
'Sleeping Nude in a Room' wc & gouache col DACM no.94
'Small Heart' wash, pen & black ink bw JBBG no.81
'Street Scene' pen & Ink, brush & wash, bw AASC p.133
'Study of Gray Smith' wc bw JBBF no.164
'Two Figures' brush & ink bw DAAF p.26
'Two Figures' ink bw RMAA p.31
'Two Women in Street (Baker's Shop)' wc, pen & ink bw AASC
'Woman and Sea' ? bw HAAP p.14
'Woman in Black' brush & ink bw MEAB ill.39
'Woman in Black' brush & ink bw WADT p.77
'Woman in Fur Coat (Self Portrait)' Chinese ink & brush bw BAWA p.109
'Woman in the Street' wc bw JBBF no .66
'Woman in the Street, Fitzroy' brush & ink bw SOYA p.141
'Woman in Street (Rubber Company)' brush & ink, penc bw AASC
'Woman Sleeping' wc bw JBBB no.134
'Woman with Rooster' wc, penc & enamel bw RFBE p.54

The above title/s of works by this artist are listed in ‘Illustration Index to Australian Art - Reproductions in art monographs and exhibition catalogues’, compiled by Ray Choate. This is an index to approximately 260 books and catalogues on Australian art, which provides titles of works of art used as illustrations. Information is given, when known, concerning the medium of the original, whether the illustration is in colour or black/white, and the page or other reference number in the text where the reproduction occurs. A FOUR-DIGIT CODE is given to each publication that has been indexed and a full list of these abbreviations and matching publications can be found at the ‘Illustration Index to Australian Art’ compiled by Ray Choate which is currently online at http://library.adelaide.edu.au/coll/artindex/index.html or at the Blog on this artresearch.com.au website.


Publishing details: La Trobe University Library, 1990, hardcopy in Scheding Library. The index is online at http://library.adelaide.edu.au/coll/artindex/index.html

×

HESTER, Joy (1920-1960)

Reference: HESTER, Joy (1920-1960)
'Baby Boy' brush & ink bw DAAF p.84
'Child of the High Seas' wc bw JBBA no.112
'Drawings' (two) ? bw DVID pp.202,203
'Dreadful Night' bw CAWP p.204
'Face' ink wash bw LCDR p.21
'Face' ink, brush, pen col HRPR p.124
'Face (from 'Faces Series')' ink brush & pen bw BAWA p.108
'Face of a Woman' brush ink wash bw WADT p.79
'Faces' brush ink wc bw WADT p.76
'Fun Fair' brush ink wc pastel col AASC P. 29
'Fun Fair' brush ink wc pastel bw AASC p.173
'Gethsemane' pen ink gouache col SOYA p.139
'Girl with Cocky' ? bw MEAA p.639
'Girl with Hen' brush ink col MOAP p.139
'Girl with Hen' brush ink bw DAAF p.85
'Gray Smith' wc bw JBBG no.82
'The Handkerchief' dry brush ink bw WADT p.81
'Harry' mix bw AASC p.146
'Head of a Women with a Hat' brush ink wash bw WADT p.80
'Head of a Woman with Hat (Women in Hat with Blue Eyes)' ink wash with pastel bw BAWA p.109
'Love' brush ink wash pastel bw WADT p.78
'Love (from "Love Series") ink & brush on litho bw BAWA p.108
'Love Series' (drawing) brush ink bw SOYA p.140
'Love Series' (drawing) brush ink bw DAAF p.25
'Lovers' brush ink, wc col MANG p.251
'The Lovers' wc gouache & enamel bw HRPR p.124
'Lovers Series' (two ill)' wc bw JBBA nos.110,111
'Lovers Series' (an example) wc bw JBBB no.133
'Mad Girl' oil bw AASC p.147
'Man and Woman in Bed' brush ink pastel char bw WADT p.78
'Man's Head No.1' ink & gouache bw WCAD p.8
'Mexican Woman' brush & gouache, penc bw AASC p.149
'Nude Study' wc bw JBAH no.40
'Nude Study for Pauline McCarthy' wc bw JBBF no.165
'Portrait of a Girl' oil bw JBAZ no.75
'Portrait of Michael Keon' oil bw AASC p.135
'Reclining Floating Nude' wc bw MORN p.32
'The Secret Life of Birds' brush & ink bw MEAB ill.40
'The Secret Life of Birds' brush & ink bw WADT p.76
'Sleeping Nude in a Room' wc & gouache col DACM no.94
'Small Heart' wash, pen & black ink bw JBBG no.81
'Street Scene' pen & Ink, brush & wash, bw AASC p.133
'Study of Gray Smith' wc bw JBBF no.164
'Two Figures' brush & ink bw DAAF p.26
'Two Figures' ink bw RMAA p.31
'Two Women in Street (Baker's Shop)' wc, pen & ink bw AASC
'Woman and Sea' ? bw HAAP p.14
'Woman in Black' brush & ink bw MEAB ill.39
'Woman in Black' brush & ink bw WADT p.77
'Woman in Fur Coat (Self Portrait)' Chinese ink & brush bw BAWA p.109
'Woman in the Street' wc bw JBBF no .66
'Woman in the Street, Fitzroy' brush & ink bw SOYA p.141
'Woman in Street (Rubber Company)' brush & ink, penc bw AASC
'Woman Sleeping' wc bw JBBB no.134
'Woman with Rooster' wc, penc & enamel bw RFBE p.54

The above title/s of works by this artist are listed in ‘Illustration Index to Australian Art - Reproductions in art monographs and exhibition catalogues’, compiled by Ray Choate. This is an index to approximately 260 books and catalogues on Australian art, which provides titles of works of art used as illustrations. Information is given, when known, concerning the medium of the original, whether the illustration is in colour or black/white, and the page or other reference number in the text where the reproduction occurs. A FOUR-DIGIT CODE is given to each publication that has been indexed and a full list of these abbreviations and matching publications can be found at the ‘Illustration Index to Australian Art’ compiled by Ray Choate which is currently online at http://library.adelaide.edu.au/coll/artindex/index.html or at the Blog on this artresearch.com.au website.

Publishing details: La Trobe University Library, 1990, hardcopy in Scheding Library. The index is online at http://library.adelaide.edu.au/coll/artindex/index.html

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SMITH, Gray (1919-view full entry

Reference: SMITH, Gray (1919-
'Canberra Landscape' ? bw RALP p.31
'Mr Johnstone' ? bw RNPA p.22
'Out of the Landscape' enam bw RMAA p.57

The above title/s of works by this artist are listed in ‘Illustration Index to Australian Art - Reproductions in art monographs and exhibition catalogues’, compiled by Ray Choate. This is an index to approximately 260 books and catalogues on Australian art, which provides titles of works of art used as illustrations. Information is given, when known, concerning the medium of the original, whether the illustration is in colour or black/white, and the page or other reference number in the text where the reproduction occurs. A FOUR-DIGIT CODE is given to each publication that has been indexed and a full list of these abbreviations and matching publications can be found at the ‘Illustration Index to Australian Art’ compiled by Ray Choate which is currently online at http://library.adelaide.edu.au/coll/artindex/index.html or at the Blog on this artresearch.com.au website.


Publishing details: La Trobe University Library, 1990, hardcopy in Scheding Library. The index is online at http://library.adelaide.edu.au/coll/artindex/index.html

×

SMITH, Gray (1919-

Reference: SMITH, Gray (1919-
'Canberra Landscape' ? bw RALP p.31
'Mr Johnstone' ? bw RNPA p.22
'Out of the Landscape' enam bw RMAA p.57

The above title/s of works by this artist are listed in ‘Illustration Index to Australian Art - Reproductions in art monographs and exhibition catalogues’, compiled by Ray Choate. This is an index to approximately 260 books and catalogues on Australian art, which provides titles of works of art used as illustrations. Information is given, when known, concerning the medium of the original, whether the illustration is in colour or black/white, and the page or other reference number in the text where the reproduction occurs. A FOUR-DIGIT CODE is given to each publication that has been indexed and a full list of these abbreviations and matching publications can be found at the ‘Illustration Index to Australian Art’ compiled by Ray Choate which is currently online at http://library.adelaide.edu.au/coll/artindex/index.html or at the Blog on this artresearch.com.au website.

Publishing details: La Trobe University Library, 1990, hardcopy in Scheding Library. The index is online at http://library.adelaide.edu.au/coll/artindex/index.html

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Hester Joyview full entry

Reference: see Deutscher and Hackett, Important Australian Fine Art + International Art
MELBOURNE, 27 November 2019:
12
JOY HESTER
(1920 – 1960)
LOVERS WITH ROSE, c.1947
watercolour, pastel, brush and Chinese ink on paper on card
54.0 x 36.5 cm
signed with estate stamp lower left
PROVENANCE
Tolarno Galleries, Melbourne (label attached verso)
Private collection, Melbourne, acquired from the above in 1976
EXHIBITED
Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 91 (as ‘Lovers, c.1950’)
CATALOGUE TEXT
Although Joy Hester’s art was neither strictly diaristic or autobiographical, the story of her life is so complex and familiar that connections are inevitably made between what we know (or imagine we know) of her experiences and feelings, and the images she created. This is especially so of images which focus, in Hester’s characteristically direct and psychologically charged style, on the depiction of human relationships and the expression of emotion. The theme of love is persistent in much of her work, but especially from 1947, a year which marked the beginning of a particularly turbulent period in Hester’s life. Diagnosed with Hodgkin’s Disease, her marriage to Albert Tucker ended and two years later her son, Sweeney, was formally adopted by John and Sunday Reed. It was a new relationship with the poet/painter, Gray Smith, also begun in 1947, which would sustain her emotionally and artistically until the end of her life, that provided the backdrop to the well-known images of lovers produced during the late 1940s and mid-1950s.

The head and torso of a naked male figure fills the sheet in Lovers with Rose, c.1947, his striking blue eyes staring directly out at the viewer. Slightly askew, they are the only facial feature depicted, compelling and with an intensity that recalls the piercing eyes in contemporary paintings by Sidney Nolan – Hester’s friend and one of the avant-garde artists who gathered around John and Sunday Reed at Heide. His lover is out of view, but her long hair trails over his left shoulder, and opposite, her arm hangs languidly across his chest, delicate fingers seemingly pointing to the pale pink rose. Itself a symbol of love, the rose in this work is said to relate to a floral motif that Hester later designed for Sunday Reed, which was etched into the glass panels either side of the front door at Heide. In the renovation of the Reed’s farmhouse undertaken in the early 1950s, the rose also featured in the decorative wallpaper Sunday chose for the master bedroom and in Nolan’s painting¸ Rosa Mutabilis, 1945 (Heide Museum of Modern Art) – a memento of her love affair with the young artist – which she displayed there,1 as well as various living specimens that grew in the garden.

Unlike her male peers, who produced their major works in oil paint, Hester worked predominantly in ink and watercolour, and the lower status of these media in the fine art hierarchy is one of the reasons why her work was so little known and appreciated during her lifetime. Although Hester’s work was unrepresented in any public collection at the time of her premature death in 1960, it is now widely collected, with major holdings in the National Gallery of Australia and Heide Museum of Modern Art. Hester’s distinctive way of depicting the human figure, combined with the immediacy of her chosen medium, results in a remarkable sense of intimacy that seems to transcend the inevitable distance between the artist, their artwork and the viewer. For Hester, art was a means of self-expression and communication – ‘[she] drew the way other people speak: it was as natural and as simple as that’.2

1. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015, pp. 241 – 242
2. Barrett Reid quoted in Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Victoria, 2001, p. 14

and
11
JOY HESTER
(1920 – 1960)
DOLL IN GREEN DRESS, c.1947 – 48
brush and ink, and watercolour on paper
29.5 x 24.5 cm
signed with estate stamp lower right: Joy Hester

PROVENANCE
Tolarno Galleries, Melbourne (label attached verso)
Private collection
Niagara Galleries, Melbourne
Private collection, Sydney
EXHIBITED
Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 30 (as ‘Doll in Green Dress (Sydney Period)’)
Blue Chip III, Niagara Galleries, Melbourne, 27 February – 31 March 2001, cat. 3 (illus. in exhibition catalogue, p.5 and back cover)
CATALOGUE TEXT
Joy Hester was a central figure among the group of artists who gathered around John and Sunday Reed, the enlightened patrons whose home, ‘Heide’, in the rural outer-Melbourne suburb of Heidelberg, offered ‘a vibrant intellectual environment and … haven of shared ideas’.1 A friend and respected peer of artists including Sidney Nolan and Albert Tucker (whom she married in 1941), Hester was a painter and poet whose work was often deeply personal, reflecting aspects of her own life and experience, as well as describing broader human psychology and universally-felt emotions.

Hester’s art is distinguished from that of her male counterparts in that she worked almost exclusively on paper, using brush and ink, watercolour and gouache. While her constant financial difficulty surely influenced this, Hester had a particular facility with these media. Responding to their immediacy, she produced images which appear both spontaneous and intuitive, with a fluidity and lightness of touch that is difficult to achieve in oil paint. Barrett Reid recalled, ‘Joy drew the way other people speak; it was as natural and as simple as that … She worked wherever she happened to be and she happened to be largely amongst people. I can see her now, in this room (the library at Heide) … She’d squat down there, probably smoking cigarettes ten to the dozen, and yapping away like mad. And in front of her would be a whole pile of paper which she’d be drawing on and taking part in the conversation laughing, interrupting, listening intently to what everyone was saying and drawing at the same time’.2

Doll in Green Dress, c.1947 – 48 is an unusual subject within Hester’s oeuvre, and with its sparkling eyes and realistically drawn face, notably different from the expressive and exaggerated features of most of her figures. While the doll’s yellow bonnet has been likened to the stark abstract form of Sidney Nolan’s famous Boy and the Moon, c.1939 – 40 (National Gallery of Australia, Canberra)3, this image is most likely connected to the series of images of Gethsemane – a doll that belonged to Sunday Reed – which Hester painted between 1946 – 47. Following their first meeting at the Herald exhibition of French and British Art in Melbourne in 1939, Hester and Sunday established a lifelong friendship which was as complex as it was steadfast, including an intimate romantic liaison and the Reeds’ adoption of Hester’s son Sweeney in 1949.4 Handmade from linen and filled with lavender from the Heide garden, the faceless Gethsemane represented the children that Sunday was unable to bear and assumed a strong and symbolic presence in her life, familiar to visitors to Heide and featuring in her correspondence with Hester as if she was a real child. While some of Hester’s depictions of ‘Gethie’ (in the collections of the National Gallery of Australia and Heide Museum of Modern Art, Victoria for example), are full of the tragedy of Sunday’s childlessness, others are more optimistic, the prominent eyes a symbol, instead, of the delight and wonder of childhood. It is this sense which Doll in Green Dress reflects, indicative perhaps of the relative stability and happiness of Hester’s life from 1947, when she began a relationship with Gray Smith, with whom she would later have two of her own children.

1. Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2001, p. 12
2. Reid, B. quoted in Gellatly, K., ibid., p. 14
3. Blue Chip III, exhibition catalogue, Niagara Galleries, Melbourne, 2001, cat. 3
4. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015

KIRSTY GRANT

×

Hester Joy

Reference: see Deutscher and Hackett, Important Australian Fine Art + International Art
MELBOURNE, 27 November 2019:
12
JOY HESTER
(1920 – 1960)
LOVERS WITH ROSE, c.1947
watercolour, pastel, brush and Chinese ink on paper on card
54.0 x 36.5 cm
signed with estate stamp lower left
PROVENANCE
Tolarno Galleries, Melbourne (label attached verso)
Private collection, Melbourne, acquired from the above in 1976
EXHIBITED
Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 91 (as ‘Lovers, c.1950’)
CATALOGUE TEXT
Although Joy Hester’s art was neither strictly diaristic or autobiographical, the story of her life is so complex and familiar that connections are inevitably made between what we know (or imagine we know) of her experiences and feelings, and the images she created. This is especially so of images which focus, in Hester’s characteristically direct and psychologically charged style, on the depiction of human relationships and the expression of emotion. The theme of love is persistent in much of her work, but especially from 1947, a year which marked the beginning of a particularly turbulent period in Hester’s life. Diagnosed with Hodgkin’s Disease, her marriage to Albert Tucker ended and two years later her son, Sweeney, was formally adopted by John and Sunday Reed. It was a new relationship with the poet/painter, Gray Smith, also begun in 1947, which would sustain her emotionally and artistically until the end of her life, that provided the backdrop to the well-known images of lovers produced during the late 1940s and mid-1950s.

The head and torso of a naked male figure fills the sheet in Lovers with Rose, c.1947, his striking blue eyes staring directly out at the viewer. Slightly askew, they are the only facial feature depicted, compelling and with an intensity that recalls the piercing eyes in contemporary paintings by Sidney Nolan – Hester’s friend and one of the avant-garde artists who gathered around John and Sunday Reed at Heide. His lover is out of view, but her long hair trails over his left shoulder, and opposite, her arm hangs languidly across his chest, delicate fingers seemingly pointing to the pale pink rose. Itself a symbol of love, the rose in this work is said to relate to a floral motif that Hester later designed for Sunday Reed, which was etched into the glass panels either side of the front door at Heide. In the renovation of the Reed’s farmhouse undertaken in the early 1950s, the rose also featured in the decorative wallpaper Sunday chose for the master bedroom and in Nolan’s painting¸ Rosa Mutabilis, 1945 (Heide Museum of Modern Art) – a memento of her love affair with the young artist – which she displayed there,1 as well as various living specimens that grew in the garden.

Unlike her male peers, who produced their major works in oil paint, Hester worked predominantly in ink and watercolour, and the lower status of these media in the fine art hierarchy is one of the reasons why her work was so little known and appreciated during her lifetime. Although Hester’s work was unrepresented in any public collection at the time of her premature death in 1960, it is now widely collected, with major holdings in the National Gallery of Australia and Heide Museum of Modern Art. Hester’s distinctive way of depicting the human figure, combined with the immediacy of her chosen medium, results in a remarkable sense of intimacy that seems to transcend the inevitable distance between the artist, their artwork and the viewer. For Hester, art was a means of self-expression and communication – ‘[she] drew the way other people speak: it was as natural and as simple as that’.2

1. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015, pp. 241 – 242
2. Barrett Reid quoted in Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Victoria, 2001, p. 14

and
11
JOY HESTER
(1920 – 1960)
DOLL IN GREEN DRESS, c.1947 – 48
brush and ink, and watercolour on paper
29.5 x 24.5 cm
signed with estate stamp lower right: Joy Hester

PROVENANCE
Tolarno Galleries, Melbourne (label attached verso)
Private collection
Niagara Galleries, Melbourne
Private collection, Sydney
EXHIBITED
Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 30 (as ‘Doll in Green Dress (Sydney Period)’)
Blue Chip III, Niagara Galleries, Melbourne, 27 February – 31 March 2001, cat. 3 (illus. in exhibition catalogue, p.5 and back cover)
CATALOGUE TEXT
Joy Hester was a central figure among the group of artists who gathered around John and Sunday Reed, the enlightened patrons whose home, ‘Heide’, in the rural outer-Melbourne suburb of Heidelberg, offered ‘a vibrant intellectual environment and … haven of shared ideas’.1 A friend and respected peer of artists including Sidney Nolan and Albert Tucker (whom she married in 1941), Hester was a painter and poet whose work was often deeply personal, reflecting aspects of her own life and experience, as well as describing broader human psychology and universally-felt emotions.

Hester’s art is distinguished from that of her male counterparts in that she worked almost exclusively on paper, using brush and ink, watercolour and gouache. While her constant financial difficulty surely influenced this, Hester had a particular facility with these media. Responding to their immediacy, she produced images which appear both spontaneous and intuitive, with a fluidity and lightness of touch that is difficult to achieve in oil paint. Barrett Reid recalled, ‘Joy drew the way other people speak; it was as natural and as simple as that … She worked wherever she happened to be and she happened to be largely amongst people. I can see her now, in this room (the library at Heide) … She’d squat down there, probably smoking cigarettes ten to the dozen, and yapping away like mad. And in front of her would be a whole pile of paper which she’d be drawing on and taking part in the conversation laughing, interrupting, listening intently to what everyone was saying and drawing at the same time’.2

Doll in Green Dress, c.1947 – 48 is an unusual subject within Hester’s oeuvre, and with its sparkling eyes and realistically drawn face, notably different from the expressive and exaggerated features of most of her figures. While the doll’s yellow bonnet has been likened to the stark abstract form of Sidney Nolan’s famous Boy and the Moon, c.1939 – 40 (National Gallery of Australia, Canberra)3, this image is most likely connected to the series of images of Gethsemane – a doll that belonged to Sunday Reed – which Hester painted between 1946 – 47. Following their first meeting at the Herald exhibition of French and British Art in Melbourne in 1939, Hester and Sunday established a lifelong friendship which was as complex as it was steadfast, including an intimate romantic liaison and the Reeds’ adoption of Hester’s son Sweeney in 1949.4 Handmade from linen and filled with lavender from the Heide garden, the faceless Gethsemane represented the children that Sunday was unable to bear and assumed a strong and symbolic presence in her life, familiar to visitors to Heide and featuring in her correspondence with Hester as if she was a real child. While some of Hester’s depictions of ‘Gethie’ (in the collections of the National Gallery of Australia and Heide Museum of Modern Art, Victoria for example), are full of the tragedy of Sunday’s childlessness, others are more optimistic, the prominent eyes a symbol, instead, of the delight and wonder of childhood. It is this sense which Doll in Green Dress reflects, indicative perhaps of the relative stability and happiness of Hester’s life from 1947, when she began a relationship with Gray Smith, with whom she would later have two of her own children.

1. Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2001, p. 12
2. Reid, B. quoted in Gellatly, K., ibid., p. 14
3. Blue Chip III, exhibition catalogue, Niagara Galleries, Melbourne, 2001, cat. 3
4. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015

KIRSTY GRANT

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Smith Gray reference/sview full entry

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]
Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

×

Smith Gray reference/s

Reference: see Drawing in Australia : drawings, water-colours, pastels and collages from the 1770s to the 1980s, by Andrew Sayers. Includes short essays or writing on the artists whose works are illustrated and may include other biographical information on artists who are mentioned but whose works are not illustrated. [’This beautifully illustrated book is an informative and fascinating chronological survey of Australian drawing since 1770. Defining a drawing as "any unique work on paper", Sayer examines a wide range of them in relation to the social influences of the period in which they were created, the genre and the medium, and discusses stylistic changes and changes in perception such as in the many "revivals" that drawing has experienced since the 1920's. He also provides drawings of natural history, Aborigines and landscape, portraits, scenes of contemporary life of the 1850's, decorative drawing, watercolors, and examples of surrealistic techniques.. ‘]

Publishing details: Australian National Gallery & Oxford University Press, Sydney, 1989, 288pp, b/w & colour ilusts, with endnotes, bibliography and index.

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Modern Australian Women Artistsview full entry

Reference: Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Museum Victoria Publishing, 2020, hc, dw, 244pp, with index.

×

Modern Australian Women Artists

Reference: Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Museum Victoria Publishing, 2020, hc, dw, 244pp, with index.

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Women Artistsview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Museum Victoria Publishing, 2020, hc, dw, 244pp, with index.

×

Women Artists

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Museum Victoria Publishing, 2020, hc, dw, 244pp, with index.

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Modernismview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Modernism

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Harkness Andree Collectionview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Harkness Andree Collection

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Allport Curzonia (Lily)view full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Allport Curzonia (Lily)

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Bale A M Eview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Bale A M E

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Bellette Jeanview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Bellette Jean

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Barringer Gwenview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Barringer Gwen

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Beckett Clariceview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Beckett Clarice

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Black Dorritview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Black Dorrit

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Bowen Stellaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Bowen Stella

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Boyd Emmaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Boyd Emma

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Fox Ethel Carrickview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Fox Ethel Carrick

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Coen Margaretview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Coen Margaret

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Colquhoun Amelieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Colquhoun Amelie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Smith Grace Cossingtonview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Smith Grace Cossington

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Cowan Theodoraview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Cowan Theodora

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Craig Sybilview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Craig Sybil

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Cumbrae-Stewart Janetview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Cumbrae-Stewart Janet

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Davidson Bessieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Davidson Bessie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Deerbon Unaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Deerbon Una

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Derham Francesview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Derham Frances

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Figuerola Almaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Figuerola Alma

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Gibson Bessieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Gibson Bessie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Goodsir Bessieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Goodsir Bessie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Gurdon Norahview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Gurdon Norah

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Haxton Elaineview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Haxton Elaine

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Hester Joyview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Hester Joy

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Heysen Noraview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Heysen Nora

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Honey C Winifredview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Honey C Winifred

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Tweddle Isobel Hunterview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Tweddle Isobel Hunter

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Isherwood Jeanview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Isherwood Jean

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Morris Ethel Jacksonview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Morris Ethel Jackson

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Kohlhagen Lisetteview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Kohlhagen Lisette

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Lahey Vidaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Lahey Vida

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Brown Ailsa Leeview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Brown Ailsa Lee

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Mackintosh Jessieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Mackintosh Jessie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Mahood Margueriteview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Mahood Marguerite

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Mayo Eileenview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Mayo Eileen

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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McInnes Violetview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

McInnes Violet

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Meeson Doraview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Meeson Dora

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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O’Connor Kathleenview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

O’Connor Kathleen

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Ogilvie Helenview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Ogilvie Helen

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Owen Gladysview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Owen Gladys

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Palmer Ethleenview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Palmer Ethleen

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Pate Klytieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Pate Klytie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Paterson Estherview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Paterson Esther

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Perry Adelaideview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Perry Adelaide

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Preston Margaretview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Preston Margaret

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Price Janeview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Price Jane

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Proctor Theaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Proctor Thea

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Pye Mabelview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Pye Mabel

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Rehfisch Alisonview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Rehfisch Alison

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Outhwaite Ida Rentoulview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Outhwaite Ida Rentoul

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Nicholas Hilda Rixview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Nicholas Hilda Rix

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Robertshaw Fredaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Robertshaw Freda

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Rodway Florenceview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Rodway Florence

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Rowan Ellisview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Rowan Ellis

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Seccombe Graceview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Seccombe Grace

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Southern Claraview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Southern Clara

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Spowers Ethelview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Spowers Ethel

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Stephens Ethelview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Stephens Ethel

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Stokes Constanceview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Stokes Constance

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Sweatman Joview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Sweatman Jo

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Syme Evelynview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Syme Evelyn

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Teague Violetview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Teague Violet

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Thorpe Lesbiaview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Thorpe Lesbia

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Traill Jessieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Traill Jessie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Tuck Marieview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Tuck Marie

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Waller Christianview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Waller Christian

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Wilson Doraview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Wilson Dora

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Wilson Doraview full entry

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]
Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

×

Wilson Dora

Reference: see Modern Australian Women Artists - Paintings, Prints and Pottery - the Andree Harkness Collection. Forward by Isobel Crombie, essays by Anne Gray, Caroline Jordan, Juliana Hooper. Includes List of (over 50) works, and bibliography.

[’The most comprehensive book on modern Australian women artists published, this bookrepresents some of Australia's most important women artists between 1870s-1960s, a dynamic period in Australian art. Artists include Margaret Preston, Grace Cossington Smith, Ethel Carrick Fox, Clarice Beckett and Hilda Rix Nicholas. With an impressive selection of prints from influential printmakers including Thea Proctor, Dorrit Black and Ethel Spowers as well as significant art potters Klytie Pate, Theodora Cowan, Una Deerbon and Grace Seccombe. Featuring 145 works from 67 artists with essays from three prominent art writers focusing on the lives of the artists — their trials, tribulations and triumphs. The support, encouragement and incentive they gave each other during their lifetimes, vital to overcoming the obstacles as women artists. The works discussed in detail and stunningly reproduced on the page.’]

Publishing details: Amaled Pty, Ltd, 2020, hc, dw, 244pp, with index.

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Smith Gray see indexview full entry

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.
 
Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.
 
Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]
Publishing details: NewSouth, 2015, hc, dw, 416pp

×

Smith Gray see index

Reference: see Sidney Nolan: a life by Nancy Underhill. With index, chronology, endnotes. [’Why another book about Sidney Nolan? That was my immediate respons ne when NewSouth Publishing suggested I write one. In the UK, my art and publishing world friends had a single response: ‘Of course you must.’
Nolan remains a topic of interest for any evaluation of late-twentieth century British art. Yet despite Nolan basing himself in the UK from 1953 until his death in 1992, the main Nolan references, aside from commercial exhibition catalogues, remain the 1957 catalogue for his retrospective at London’s Whitechapel Gallery and the 1961 Thames & Hudson monograph Sidney Nolan. My friends were interested to know how Nolan’s carefully nurtured fame had affected reactions to his later works. Some also wondered what Australians thought of Nolan’s depictions of so-called ‘true Australia’.
In Australia, the public still tends to truncate Nolan’s life at July 1947, when he quit living with John and Sunday Reed at their home, Heide, outside Melbourne. Like Sunday, the public locks Nolan’s fame onto the group of Ned Kelly paintings he left with her. Once she gave them to the National Gallery of Australia, those paintings became her very public memorial to lost love, and supported the Reeds’ claim to have nurtured Nolan’s genius. He became simply the man who painted Kelly.
Nolan deserves a more broad-reaching critical biography, informed by art historical assessments. Questions and issues began to bubble in my mind. I had met Nolan several times. I had already researched the Reed Papers, held in the State Library of Victoria, and Nolan’s own archive, at his home, The Rodd, on the Welsh border. Finally, I knew or could arrange to meet his associates in Australia and the UK. On that basis, I agreed to undertake what has proved to be a very complex and intriguing journey.
I soon discovered how systematically Nolan controlled his own biography. In London, Bryan Robertson, Kenneth Clark and Colin MacInnes, who were instrumental in establishing Nolan’s reputation, took Nolan at his word and, worse, used his art to portray Australia as a vast land where everything was upside down and, to paraphrase MacInnes, frankly weird. Nolan airbrushed from his UK life story the Reeds, his training as a commercial artist and his interaction with other Australian artists.
On visits to Australia, somehow a reporter was often at the ready to convey Nolan’s desire to live there one day, and how the country recharged his batteries. Despite his substantial UK financial success and fame, Nolan appears to have had a genuine emotional bond with Australia, and he depended on sales there to bolster autobiographical film projects and his endless world travel. As always, however, it was Nolan’s call as to what got told.
 
Having decided to tackle a biography using art historical evaluations, I determined to cross-check the extant Nolan material and rebalance Nolan’s Australian persona by fleshing out his international life and career. I was very lucky. Many of Nolan’s colleagues, studio assistants and friends in the UK, New York and Australia, who had not previously been interviewed, were willing to meet with me and in the process discover a great deal about their friend. Two things struck me about this group. They were high achievers in diplomacy, music, literature and finance, but few were in visual arts. The likes of Stephen Spender, Benjamin Britten and Kenneth Clark, who had been admired from afar by a young Nolan in Australia, became close friends in the UK—not something that often happens to a tram driver’s son from St Kilda.
 
Equally fascinating was that despite admitting Nolan had a rogue, secretive facet to his personality, his colleagues all found him intellectually stimulating company. For those who owned any, his art was more a memento of a friendship than a trophy hanging on their wall. What greater compliment could an artist have?
Sidney Nolan: A life took me on a journey full of barbed wire but one I am pleased I agreed to undertake. Imagine missing seeing all that art, reading diaries and private letters, meeting incredibly interesting people and coming to better know an artist who still intrigues. My publishers were right: Nolan did deserve another sort of biography. He was an elusive and controversial man who became Australia’s best-known artist.’]

Publishing details: NewSouth, 2015, hc, dw, 416pp

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Smith Ron and Sally Gray railway station decoration 2001view full entry

Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.

×

Smith Ron and Sally Gray railway station decoration 2001

Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’

Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.

Location:

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Gray Sally and Ron Smith railway station decoration 2001view full entry

Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’
Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.

×

Gray Sally and Ron Smith railway station decoration 2001

Reference: see Vernacular Visions - A folklife history of Australia: art, diversity, storytelling, by Noris Ioannou. [Some biographical information is provided on artists when discussing their work. Artists whose works are illustrated in thi book have been entered into the Scheding Index].
‘What is the character of Australian folk creativity, where does it spring from, what are its artistic outcomes, and what does it say about the diverse make-up of the nation and its history and culture? Cultural historian Dr Noris Ioannou explores these queries in this, the first comprehensive and richly illustrated cultural history text on Australian folk creativity, its art and its stories.

Vernacular Visions highlights the communal and spontaneous creativity and meaning of folk art, embracing it as a tool for the imagining and re-telling of everyday life. Based on extensive research combining ethnology, material culture studies, folkloristics and art history, Dr Ioannou ranges widely across media, time, place and country, exploring the origins and character of Australia's vernacular creativity and its springboard of diverse visual traditions.

From the ancient and contemporary creative practices of Australia's indigenous people, to those which emerged from the colonial and our ongoing migrant experiences - embracing bush mythology, love of sport, larrikin character, 'fair go' national values, and 'making do' resourcefulness - the author highlights the perennial and animating themes that determine the diverse and multicultural character of Australian folk creativity, its diverse artistic outcomes and its extraordinary stories: from the vast outback to the crowded urban and suburban fringes.

About the Author

Dr Noris Ioannou is an Adelaide-based cultural historian among Australia's foremost published writers on material folk culture and the decorative arts. He is the author of seven other books including three cultural histories. His first, Ceramics in South Australia 1836-1986: From folk to studio pottery, received the Australian Heritage Award. His second milestone text, The Barossa Folk: Germanic Furniture and Craft Traditions in Australia, was published in 1995. His other books include Masters Of Their Craft: Tradition and innovation in Australian contemporary decorative arts (1997); and his popular cultural travel book Barossa Journeys: Into a valley of tradition, now in its third printing. Dr Ioannou is a past president of the Professional Historians Association of South Australia, and was executive director of Nexus Multicultural Arts Centre for seven years.

Born in Cyprus of Greek parents, Dr Ioannou has lived in Australia since he was three and was a secondary school science teacher prior to becoming an independent scholar. He holds a Bachelor of Science with Honours and a Diploma of Education from the University of Adelaide, and a Doctorate in Visual Arts and Archaeology from Flinders University.’

Publishing details: Wakefield Press, 2021, hc, dw, 292pp. With Index.

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Smith Grayview full entry

Reference: This artist is listed in Australian Art Sales Digest (AASD), as at July, 2021, with at least the following information: Gender: M, 1919-90, Australia, 18 works listed. AASD (online) lists auction sale information on over 20,000 Australian and NZ artists and includes biographical and bibliographical information on many of the artists. AASD also lists auction houses and commercial galleries in Australia and NZ and publishes articles and other information on the art market.
Publishing details: aasd.com.au

×

Smith Gray

Reference: This artist is listed in Australian Art Sales Digest (AASD), as at July, 2021, with at least the following information: Gender: M, 1919-90, Australia, 18 works listed. AASD (online) lists auction sale information on over 20,000 Australian and NZ artists and includes biographical and bibliographical information on many of the artists. AASD also lists auction houses and commercial galleries in Australia and NZ and publishes articles and other information on the art market.

Publishing details: aasd.com.au

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Thousand mile stareview full entry

Reference: The thousand mile stare : a photographic exhibition. Curated by Joyce Agee ; edited by David Bennett. [’The thousand mile stare was a Victorian Centre for Photography bicentennial project that comprised a survey exhibition of photographic practice from the last 25 years.
The artists involved in the exhibition and catalogue were Jennifer Aitken, Robert Ashton, Bashir Baraki, Chris Barry, Robert Besanko, Terence Bogue, Warren Breninger, Francis Busby, Nanette Carter, Sebastian Costanzo, John Cato, Toni Chaffey, Evan Clark, Paul Cox, Seham Abi-Elias, Michelle Ely, Sue Ford, Glenda Gerrard, John Gollings, Peter Gray, Janina Green, Ponch Hawkes, Angie Heinl, Bill Henson, Rob Imhoff, Carol Jerrems, Leah King-Smith, Christopher Koller, O. Philip Korczynski, Andrew Lehmann, Angela Lynkushka, Peter Lyssiotis, Ruth Maddison, Bill McCann, Craig McGee, John O’Neil, Bernie O’Regan, Polixeni Papapetrou, Wes Placek, Dyranda Prevost, Tim  Rowston, Bernard Sachs, Wolfgang Sievers, Robert Slatyer, David Tatnall, Les Walkling, Kath Walters, Ben Wrigley.
Includes reproductions of rare photographic posters including a promotional poster for the rare book by Virginia Fraser and Carol Jerrems ‘A book about Australian women’.’]
Publishing details: Melbourne : The Victorian Centre for Photography Inc., 1988. Quarto, illustrated wrappers (by Robert Ashton), pp. 118, illustrated,
Ref: 1000

×

Thousand mile stare

Reference: The thousand mile stare : a photographic exhibition. Curated by Joyce Agee ; edited by David Bennett. [’The thousand mile stare was a Victorian Centre for Photography bicentennial project that comprised a survey exhibition of photographic practice from the last 25 years.
The artists involved in the exhibition and catalogue were Jennifer Aitken, Robert Ashton, Bashir Baraki, Chris Barry, Robert Besanko, Terence Bogue, Warren Breninger, Francis Busby, Nanette Carter, Sebastian Costanzo, John Cato, Toni Chaffey, Evan Clark, Paul Cox, Seham Abi-Elias, Michelle Ely, Sue Ford, Glenda Gerrard, John Gollings, Peter Gray, Janina Green, Ponch Hawkes, Angie Heinl, Bill Henson, Rob Imhoff, Carol Jerrems, Leah King-Smith, Christopher Koller, O. Philip Korczynski, Andrew Lehmann, Angela Lynkushka, Peter Lyssiotis, Ruth Maddison, Bill McCann, Craig McGee, John O’Neil, Bernie O’Regan, Polixeni Papapetrou, Wes Placek, Dyranda Prevost, Tim  Rowston, Bernard Sachs, Wolfgang Sievers, Robert Slatyer, David Tatnall, Les Walkling, Kath Walters, Ben Wrigley.
Includes reproductions of rare photographic posters including a promotional poster for the rare book by Virginia Fraser and Carol Jerrems ‘A book about Australian women’.’]

Publishing details: Melbourne : The Victorian Centre for Photography Inc., 1988. Quarto, illustrated wrappers (by Robert Ashton), pp. 118, illustrated,

Location: 1000

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Hester Joy 1920-60 man with beardview full entry

Reference: see Leonard Joel auction, October 19, 2021, lot 22:
JOY HESTER (1920-1960)
Man with Beard 1955
ink on paper
signed and dated lower left: Joy Hester/ 1955
75.5 x 50.5cm

PROVENANCE:
Private collection, Melbourne
Thence by descent

OTHER NOTES:
In 1955, Joy Hester was invited by Georges and Mirka Mora to show at Mirka Cafe, 183 Exhibition Street, the French-style eatery the Moras had opened the previous year in Melbourne's theatre district. After arriving from Paris in 1951, the Moras, who lived nearby at 9 Collins Street, were transforming the culture of their new home with sophistication, conviviality and considerable Gallic charm. Hester and Gray Smith, her partner, were good friends and had babysat their young sons, Philippe and William, on a weekly basis at their home in Upwey in the Dandenong Ranges while the Moras ran the cafe.

1955 was a busy, productive year for Hester. She increased the scale of her brush and ink works and, for the first time, regularly signed and dated them, marking a new level of professionalism. The Mirka Cafe show was the second of only three solo exhibitions during Hester's lifetime. (1) As there was no catalogue, the inclusion of Man with Beard cannot be confirmed. That year Hester also contributed to two Contemporary Art Society group exhibitions and The Herald Outdoor Art Show. However, Head of a Woman in Hat (1955, National Gallery of Victoria), which was in the Mirka Cafe show, has the same dimensions.

Also for the first time, Hester won (faint) praise from the critics. Alan McCulloch described her solo show as 'striking in its originality, somewhat bizarre in general feeling and resembling in effect - if we exclude the Expressionist element - the negative print in photography'. (2) Arnold Shore noted the 'looming intensity' of the wash drawings whose 'emotional nature' was accentuated by 'an individual interpretation of character'. (3)

Though Hester was living in the township of Upwey, the impact of the Australian bush and of country people had informed her vision since moving to rural Hurstbridge in 1948. She was enamoured of the land and its people, avidly reading Australian history and poetry. Nature also provided a healing retreat as Hester recovered from Hodgkin's disease.

Who is Man with Beard? Could he be a 19th century bushranger? The few remaining photographs of Ned Kelly prove it's not him. There's a passing resemblance to Francis McCallum (1822-1857), known as Captain Melville, though he sported a moustache. Hester occasionally drew portraits and rarely concentrated on landscape. She was concerned with issues more evanescent and symbolic: the human face as repository for issues of identity where nothing is fixed, all is in transition. Man with Beard is a striking image: a strong, sensitive face with eyes that are piercing yet blank, and a sensuous mouth. He seems to look at us yet looks past us, his beard like dark water, dissolving his face. He is an apparition, a ghostly visitation from the colonial past.

Dr Janine Burke, Honorary Senior Fellow, University of Melbourne.

1. Hester's other solo exhibitions were at Melbourne Bookclub Gallery, 225 Collins Street, Melbourne, 6-17 February, 1950 and Gallery of Contemporary Art, Tavistock Place, Melbourne 9-23 April 1957.
2. Alan McCulloch, The Herald, 27 July 1955, p.20.
3. Arnold Shore, The Argus, 27 July 1955, p.8.
Dimensions
75.5 x 50.5cm
Artist or Maker
JOY HESTER (1920-1960)
Medium
ink on paper
Provenance
Private collection, Melbourne
Thence by descent

×

Hester Joy 1920-60 man with beard

Reference: see Leonard Joel auction, October 19, 2021, lot 22:
JOY HESTER (1920-1960)
Man with Beard 1955
ink on paper
signed and dated lower left: Joy Hester/ 1955
75.5 x 50.5cm

PROVENANCE:
Private collection, Melbourne
Thence by descent

OTHER NOTES:
In 1955, Joy Hester was invited by Georges and Mirka Mora to show at Mirka Cafe, 183 Exhibition Street, the French-style eatery the Moras had opened the previous year in Melbourne's theatre district. After arriving from Paris in 1951, the Moras, who lived nearby at 9 Collins Street, were transforming the culture of their new home with sophistication, conviviality and considerable Gallic charm. Hester and Gray Smith, her partner, were good friends and had babysat their young sons, Philippe and William, on a weekly basis at their home in Upwey in the Dandenong Ranges while the Moras ran the cafe.

1955 was a busy, productive year for Hester. She increased the scale of her brush and ink works and, for the first time, regularly signed and dated them, marking a new level of professionalism. The Mirka Cafe show was the second of only three solo exhibitions during Hester's lifetime. (1) As there was no catalogue, the inclusion of Man with Beard cannot be confirmed. That year Hester also contributed to two Contemporary Art Society group exhibitions and The Herald Outdoor Art Show. However, Head of a Woman in Hat (1955, National Gallery of Victoria), which was in the Mirka Cafe show, has the same dimensions.

Also for the first time, Hester won (faint) praise from the critics. Alan McCulloch described her solo show as 'striking in its originality, somewhat bizarre in general feeling and resembling in effect - if we exclude the Expressionist element - the negative print in photography'. (2) Arnold Shore noted the 'looming intensity' of the wash drawings whose 'emotional nature' was accentuated by 'an individual interpretation of character'. (3)

Though Hester was living in the township of Upwey, the impact of the Australian bush and of country people had informed her vision since moving to rural Hurstbridge in 1948. She was enamoured of the land and its people, avidly reading Australian history and poetry. Nature also provided a healing retreat as Hester recovered from Hodgkin's disease.

Who is Man with Beard? Could he be a 19th century bushranger? The few remaining photographs of Ned Kelly prove it's not him. There's a passing resemblance to Francis McCallum (1822-1857), known as Captain Melville, though he sported a moustache. Hester occasionally drew portraits and rarely concentrated on landscape. She was concerned with issues more evanescent and symbolic: the human face as repository for issues of identity where nothing is fixed, all is in transition. Man with Beard is a striking image: a strong, sensitive face with eyes that are piercing yet blank, and a sensuous mouth. He seems to look at us yet looks past us, his beard like dark water, dissolving his face. He is an apparition, a ghostly visitation from the colonial past.

Dr Janine Burke, Honorary Senior Fellow, University of Melbourne.

1. Hester's other solo exhibitions were at Melbourne Bookclub Gallery, 225 Collins Street, Melbourne, 6-17 February, 1950 and Gallery of Contemporary Art, Tavistock Place, Melbourne 9-23 April 1957.
2. Alan McCulloch, The Herald, 27 July 1955, p.20.
3. Arnold Shore, The Argus, 27 July 1955, p.8.
Dimensions
75.5 x 50.5cm
Artist or Maker
JOY HESTER (1920-1960)
Medium
ink on paper
Provenance
Private collection, Melbourne
Thence by descent

Publishing details:

Location:

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Hester Joyview full entry

Reference: see Deutscher & Hackett, IMPORTANT WOMEN ARTISTS + SELECTED AUSTRALIAN AND INTERNATIONAL FINE ART, MELBOURNE, 10 November 2021, lot
16
JOY HESTER
(1920 - 1960)
LOVERS WITH ROSE, c.1950
watercolour, pastel, brush and Chinese ink on paper on card
54.0 x 36.5 cm
signed with estate stamp lower left
PROVENANCE
Tolarno Galleries, Melbourne (label attached verso)
Private collection, Melbourne, acquired from the above in 1976
EXHIBITED
Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 91 (as ‘Lovers, c.1950’)
Joy Hester: Remember Me, Heide Museum of Modern Art, Melbourne, 28 November 2020 – 14 February 2021, cat. 111 (as 'Lovers with Rose, c.1950', illus. in exhibition catalogue)
LITERATURE
Morgan, K and Petherbridge, D., Joy Hester: Remember Me, Heide Museum of Modern Art, Melbourne, 2020, p. 155 (illus.)
RELATED WORKS
(The Embrace) from the Love Series I, c. 1949, chalk, ink and wash on paper on board, 38.0 x 27.0 cm, in the collection of The University of Western Australia Art, Perth
CATALOGUE TEXT

190398 JOY HESTER.JPG

Peace: Joy Hester Holding Sweeney, 1945
Photographer: Albert Tucker
gelatin silver photograph
40.1 x 30.6 cm
Heide Museum of Modern Art, Melbourne
Gift of Barbara Tucker, 2001
Although Joy Hester’s art was neither strictly diaristic or autobiographical, the story of her life is so complex and familiar that connections are inevitably made between what we know (or imagine we know) of her experiences and feelings, and the images she created. This is especially so of images which focus, in Hester’s characteristically direct and psychologically charged style, on the depiction of human relationships and the expression of emotion. The theme of love is persistent in much of her work, but especially from 1947, a year which marked the beginning of a particularly turbulent period in Hester’s life. Diagnosed with Hodgkin’s Disease, her marriage to Albert Tucker ended and two years later her son, Sweeney, was formally adopted by John and Sunday Reed. It was a new relationship with the poet/painter, Gray Smith (also begun in 1947) which would sustain her emotionally and artistically until the end of her life, providing the backdrop to the well-known images of lovers produced during the late 1940s and 1950s.
 
The head and torso of a naked male figure fills the sheet in Lovers with Rose, c.1950, his striking blue eyes staring directly out at the viewer. Slightly askew, they are the only facial features depicted, compelling and with an intensity that recalls the piercing eyes in contemporary paintings by Sidney Nolan – Hester’s friend and one of the avant-garde artists who gathered around John and Sunday Reed at Heide. His lover is out of view, but her long hair trails over his left shoulder, and opposite, her arm hangs languidly across his chest, delicate fingers seemingly pointing to the pale pink rose. Itself a symbol of love, the rose in this work is said to relate to a floral motif that Hester later designed for Sunday Reed, which was etched into the glass panels either side of the front door at Heide and remain today. In the renovation of the Reed’s farmhouse undertaken during the early 1950s, the rose also featured in the decorative wallpaper Sunday chose for the master bedroom and in Nolan’s painting¸ Rosa Mutabilis, 1945 (Heide Museum of Modern Art, Melbourne) – a memento of her love affair with the young artist – which she displayed there,1 as well as various living specimens that grew in the garden.
 
Unlike her male peers, who produced their major works in oil paint, Hester worked predominantly in ink and watercolour, and the lower status of these media in the fine art hierarchy is one of the reasons why her work was so little known and appreciated during her lifetime. Although Hester’s work was unrepresented in any public collection at the time of her premature death in 1960, it is now widely collected, with major holdings in the National Gallery of Australia, Canberra and Heide Museum of Modern Art, Melbourne. This work was included in the recent major exhibition, Joy Hester: Remember Me, shown at Heide during 2020.2 Hester’s distinctive way of depicting the human figure, combined with the immediacy of her chosen medium, results in a remarkable sense of intimacy that seems to transcend the inevitable distance between the artist, the artwork and the viewer. For Hester, art was a means of self-expression and communication – ‘[she] drew the way other people speak: it was as natural and as simple as that’.3
 
1. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015, pp. 241 – 242
2. See Morgan. K. & Petherbridge, D., Joy Hester: Remember Me, exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2020, cat. 111, p. 155 (illus.)
3. Barrett Reid quoted in Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2001, p. 14
 
KIRSTY GRANT

×

Hester Joy

Reference: see Deutscher & Hackett, IMPORTANT WOMEN ARTISTS + SELECTED AUSTRALIAN AND INTERNATIONAL FINE ART, MELBOURNE, 10 November 2021, lot
16
JOY HESTER
(1920 - 1960)
LOVERS WITH ROSE, c.1950
watercolour, pastel, brush and Chinese ink on paper on card
54.0 x 36.5 cm
signed with estate stamp lower left
PROVENANCE
Tolarno Galleries, Melbourne (label attached verso)
Private collection, Melbourne, acquired from the above in 1976
EXHIBITED
Joy Hester, Tolarno Galleries, Melbourne, 6 – 25 October 1976, cat. 91 (as ‘Lovers, c.1950’)
Joy Hester: Remember Me, Heide Museum of Modern Art, Melbourne, 28 November 2020 – 14 February 2021, cat. 111 (as 'Lovers with Rose, c.1950', illus. in exhibition catalogue)
LITERATURE
Morgan, K and Petherbridge, D., Joy Hester: Remember Me, Heide Museum of Modern Art, Melbourne, 2020, p. 155 (illus.)
RELATED WORKS
(The Embrace) from the Love Series I, c. 1949, chalk, ink and wash on paper on board, 38.0 x 27.0 cm, in the collection of The University of Western Australia Art, Perth
CATALOGUE TEXT

190398 JOY HESTER.JPG

Peace: Joy Hester Holding Sweeney, 1945
Photographer: Albert Tucker
gelatin silver photograph
40.1 x 30.6 cm
Heide Museum of Modern Art, Melbourne
Gift of Barbara Tucker, 2001
Although Joy Hester’s art was neither strictly diaristic or autobiographical, the story of her life is so complex and familiar that connections are inevitably made between what we know (or imagine we know) of her experiences and feelings, and the images she created. This is especially so of images which focus, in Hester’s characteristically direct and psychologically charged style, on the depiction of human relationships and the expression of emotion. The theme of love is persistent in much of her work, but especially from 1947, a year which marked the beginning of a particularly turbulent period in Hester’s life. Diagnosed with Hodgkin’s Disease, her marriage to Albert Tucker ended and two years later her son, Sweeney, was formally adopted by John and Sunday Reed. It was a new relationship with the poet/painter, Gray Smith (also begun in 1947) which would sustain her emotionally and artistically until the end of her life, providing the backdrop to the well-known images of lovers produced during the late 1940s and 1950s.
 
The head and torso of a naked male figure fills the sheet in Lovers with Rose, c.1950, his striking blue eyes staring directly out at the viewer. Slightly askew, they are the only facial features depicted, compelling and with an intensity that recalls the piercing eyes in contemporary paintings by Sidney Nolan – Hester’s friend and one of the avant-garde artists who gathered around John and Sunday Reed at Heide. His lover is out of view, but her long hair trails over his left shoulder, and opposite, her arm hangs languidly across his chest, delicate fingers seemingly pointing to the pale pink rose. Itself a symbol of love, the rose in this work is said to relate to a floral motif that Hester later designed for Sunday Reed, which was etched into the glass panels either side of the front door at Heide and remain today. In the renovation of the Reed’s farmhouse undertaken during the early 1950s, the rose also featured in the decorative wallpaper Sunday chose for the master bedroom and in Nolan’s painting¸ Rosa Mutabilis, 1945 (Heide Museum of Modern Art, Melbourne) – a memento of her love affair with the young artist – which she displayed there,1 as well as various living specimens that grew in the garden.
 
Unlike her male peers, who produced their major works in oil paint, Hester worked predominantly in ink and watercolour, and the lower status of these media in the fine art hierarchy is one of the reasons why her work was so little known and appreciated during her lifetime. Although Hester’s work was unrepresented in any public collection at the time of her premature death in 1960, it is now widely collected, with major holdings in the National Gallery of Australia, Canberra and Heide Museum of Modern Art, Melbourne. This work was included in the recent major exhibition, Joy Hester: Remember Me, shown at Heide during 2020.2 Hester’s distinctive way of depicting the human figure, combined with the immediacy of her chosen medium, results in a remarkable sense of intimacy that seems to transcend the inevitable distance between the artist, the artwork and the viewer. For Hester, art was a means of self-expression and communication – ‘[she] drew the way other people speak: it was as natural and as simple as that’.3
 
1. See Harding, L. & Morgan, K., Modern Love: The Lives of John & Sunday Reed, The Miegunyah Press, Melbourne, 2015, pp. 241 – 242
2. See Morgan. K. & Petherbridge, D., Joy Hester: Remember Me, exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2020, cat. 111, p. 155 (illus.)
3. Barrett Reid quoted in Gellatly, K., Leave no space for yearning: The Art of Joy Hester, exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2001, p. 14
 
KIRSTY GRANT

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Streeton Arthur Centre of the Empireview full entry

Reference: see Deutscher & Hackett, IMPORTANT WOMEN ARTISTS + SELECTED AUSTRALIAN AND INTERNATIONAL FINE ART, MELBOURNE, 10 November 2021, lot
36
ARTHUR STREETON
(1867 - 1943)
THE CENTRE OF THE EMPIRE, 1902
oil on canvas
122.5 x 122.5 cm
signed and dated lower left: ArthuR STREETON / 1902
PROVENANCE
Sir Walter Baldwin Spencer, Melbourne, by 1907
The Baldwin Spencer Collection of Australian Pictures and Works of Art, Fine Art Society, Melbourne, 19 May 1919, lot 30
Acquired from the above by Mr A.T. Creswick, Melbourne, until 1939
Thence by descent
Sir Alexander Reid Creswick, Melbourne, until 1982
Thence by descent
Private collection, Sydney
EXHIBITED
Salon de la Société des Artistes Français, Grand Palais, Paris, 1 May 1902, cat. 1527 (as ‘Gelée du matin, Londres’)
Arthur Streeton, Ryder Gallery, London, 2 May 1903, cat. 22 (as ‘Trafalgar Square’)
An Exhibition of Pictures by Arthur Streeton Prior to his Return to Europe, Upper Hibernian Hall, Melbourne, 20 April 1907, cat. 67 (illus., as ‘The Centre of the Empire’)
Sir W. Baldwin Spencer’s Collection, National Art Gallery of New South Wales, Sydney, 1 December 1916, cat. 6
Loan Exhibition, Collection of Paintings and Drawings by Australian Artists executed during the last 25 to 30 Years, National Art Gallery of New South Wales, Sydney, April 1918, cat. 13 (illus. p.7 of exhibition catalogue, as ‘Centre of the Empire’)
Arthur Streeton Memorial Exhibition, National Gallery of Victoria, Melbourne, 5 September – 7 October 1944, cat. 68 (as ‘The Heart of the Empire’, lent by Mrs Alexander Creswick)
Arthur Streeton 1867–1943, National Gallery of Victoria, Melbourne, 8 December 1995 – 3 November 1996, cat. 59
Streeton, Art Gallery of New South Wales, Sydney, 7 November 2020 – 14 February 2021 (as ‘The Centre of the Empire’) 
LITERATURE
Joel, G., ‘Australian Artists in London: A reminiscence’, Art and Architecture, William Brooks and Co., Sydney, vol. 3, no. 3, May – June 1906, p.101 (as ‘the Trafalgar Square picture’)
The Lone Hand, Sydney, 1 July 1907, vol. 1, no. 3, pp. 309, 310 (illus., as ‘The Centre of the Empire’)
Lindsay, L., ‘Arthur Streeton’s place in Australian Art’, Art in Australia, Angus and Robertson Ltd., Sydney, no. 2, 1917, n.p. (as ‘The Centre of the Empire’)
‘The Loan Exhibition’, Sydney Morning Herald, Sydney, 4 April 1918, p.4
‘Australian Pictures: The Spencer Collection’, The Argus, Melbourne, 3 May 1919, p.9 (as ‘The Centre of the Empire’)
Lloyd Jones, C., Stevens, B., & Smith, U., The Art of Arthur Streeton, Angus and Robertson, Sydney, 1919, pl. 25 (illus.)
‘Art Notes: Mr Arthur Streeton Among the Grampians’, The Age, Melbourne, 2 November 1920, p. 8 (as ‘The Centre of the Empire’)
McDonald, J.S., ‘Australian Artists. No. 6. Arthur Streeton’, The Herald, Melbourne, 12 September 1924, p. 6 (as ‘Centre of the Empire’)
Lindsay, L.,’ Arthur Streeton’, Art in Australia, Third Series, no. 40, Art in Australia Ltd., Sydney, October 1931, p. 10 (as ‘The Centre of Empire’)
Streeton, A., The Arthur Streeton Catalogue, Osboldstone & Co., Melbourne, 1935, cat. 258B (as 'Trafalgar Square' (Mr. A. T. Creswick))
Galbally, A., Arthur Streeton, Lansdowne, Melbourne, 1969, cat. 94
Wray, C., Arthur Streeton: Painter of Light, Jacaranda Wiley, Milton, 1993, pp.97, 100, 102
Eagle, M., The Oil Paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, p.140 (dated as c.1901)
Smith, G., Arthur Streeton 1867–1943, National Gallery of Victoria, Melbourne, 1995, cat. 59, pp.140–141 (illus.)
Tunnicliffe, W., Streeton, Art Gallery of New South Wales and Thames & Hudson, Sydney, 2020, pp.174 – 75, 183 (illus.), 197, 284 – 285, 336, 371
RELATED WORKS
Frosty Noon, 1901, oil on canvas, 122.5 x 122.5 cm, in the collection of the National Gallery of Victoria, Melbourne
CATALOGUE TEXT

210633 ALICE MILLS, PORTRAIT OF ARTHUR STREETON.JPG

Untitled (Portrait of Arthur Streeton), 1907
Photographer: Alice Mills (Australia, 1870 – 1929)
platinotype gelatin silver photograph, 13.9 x 10 cm
Art Gallery of New South Wales, Sydney
Purchased 1983
188.1983
We are grateful to Dr Anne Gray, curator and former Head of Australian Art at the National Gallery of Australia, Canberra, for her permission to reproduce the following excerpt from her essay featured in the catalogue accompanying the recent Streeton retrospective at the Art Gallery of New South Wales, Sydney, 7 November 2020 – 14 February 2021.

‘London & England what a mighty thing it all is ... London seems even too large & almost beyond the management of the capable men now directing it - the rate of its growth increases each day - its wealth stupendous.’1
 
Arthur Streeton wrote this in London in January 1901. Queen Victoria was ill and dying, and the city, England and the British Commonwealth were on the brink of change. London had become the largest city in Europe,2 and its energy attracted artists, musicians and writers from all over the western world. Streeton arrived in early May 1897, having departed Australia on 27 January.
In England, over more than fifteen years, Streeton began to paint differently. The reasons for this were fourfold.
 
First, what he saw was not the same: the softer English light and London fog were so different from the bright, sharp light and strong colours of Australia. Also, as he reported to Tom Roberts in June 1898, 'I feel convinced that my work hereafter will contain a larger idea & quality than before - After seeing Constable Turner Titian Watts & all the masters'.3 He saw, too, the works of a wide range of artists of the day. In 1898 he wrote that he preferred the International Society of Sculptors, Painters and Gravers exhibition to the staid presentation of British art at the Royal Academy. The former included works by Charles Conder, James Abbott McNeill Whistler and the Scottish School (the Glasgow Boys), as well as Paul Cézanne, Edgar Degas, Edouard Manet, Claude Monet and the French-based Norwegian artist Frits Thaulow.4
 
Fourthly, successful artists need a network of advisers and supporters, friends and challengers - even rivals. In Streeton's first years in London, he was adrift without the camaraderie of his mentor Roberts and 'sparring partner, Conder', who lived in England but frequently travelled. His loneliness, poverty and experience of bitter winter led to depression. He was in contact with the photographer H. Walter Barnett, now residing in London,5 but Barnett could not provide relevant advice. It may be that one of Streeton's mistakes was not following an Australian critic's advice to study in Paris.6 He certainly would have met fellow artists, as did Conder (Will Rothenstein and Henri de Toulouse-Lautrec) and John Russell (Vincent van Gogh), and found a circle of friends to provide support and guidance.

210633 ARTHUR STREETON, FROSTY NOON, NGV.JPG

Arthur Streeton
Frosty Noon, 1901
oil on canvas
122.5 x 122.5 cm
National Gallery of Victoria, Melbourne
Streeton did meet up with Conder, who was willing to help his old friend and even share his studio with him, but Conder had established himself in France and England, and the balance of the relationship had changed. Following Conder's marriage to Stella Maris Belford in December 1901, Streeton felt more comfortable in his company, and in 1902 spent Christmas with the couple. When Roberts arrived in London in April 1903, Streeton eagerly resumed their friendship. He also encountered a number of former Australian acquaintances, such as the artists E. Phillips Fox and A. Henry Fullwood, and gradually met British artists like Philip Wilson Steer (who in January 1903 supported Streeton's nomination to become a member of the Chelsea Arts Club, where he met further British contemporaries).7
 
Importantly, by 1899 Streeton had met his future wife, the Canadian violinist Nora Clench. He reported to Roberts that she was 'wise (advises me as you often used to - to spur me into energy & better things)'.8 She was interested in the arts - in poetry and painting - as well as being a highly talented musician, with her own quartet. She had contacts, people who could offer Streeton commissions, such as Walter Russell Rea, who commissioned him in 1905 to depict shipping and dockland scenes at Southampton and Liverpool, and the Mond family, to paint landscapes in Kent in 1913.9
 
In the summer of 1898, Streeton travelled to Sussex, where he painted his first English landscape, Sussex harvest 1898. To some extent, he adopted a format he had used in Australia, in works such as 'What thou among the leaves hast never known' (also known as A bush idyll), 1896, depicting a scene framed by overarching trees; here, however, he depicted a sunny landscape rather than a poetic moonlit one. By this time, he would have had the opportunity to view John Constable's The cornfield, 1826 (National Gallery, London), which is also a view through trees towards a cornfield, under sunlit clouds. Streeton was dissatisfied with his own painting, writing to Roberts in 1902: ‘The first & only chance I've had yet at English landscape was Sussex soon after my arrival - all too new, & fresh - now - I see more clearly what I can do for myself.’10
 
It was a 'good enough' first attempt at an English pastoral scene, but he needed more time to assimilate the new landscape, the new light and the ideas of earlier artists. Nonetheless, the painting was exhibited at the Royal Academy in June 1899 and with the Society of Artists in Australia later that year.

NOVL21 CAT PROOF 7_10_2021 B (2) (002).JPG

Arthur Streeton with Nora Streeton
(née Clench), with Pat, the dog, at
their Hill Road Home, London, c.1909
Photographer: Walter Barnett
National Gallery of Australia, Canberra
By 1901, Streeton had become accustomed to London's frosty, foggy winter atmosphere. He responded to the muted light in The centre of the Empire (also known as Foggy morning), one of two large square (122.5 x 122.5 cm) images of Trafalgar Square, painted in 1901-02; the other is Frosty noon, 1901 (National Gallery of Victoria). Streeton was not only using a canvas of a similar size and shape to those used by Monet,11 but also, like Monet, painting a similar scene at different times of day. Streeton was also adopting the urban subject often depicted by the French artists. (He had viewed the work of French artists in 1898 in the International Society of Sculptors, Painters and Gravers exhibition and in the Loan collection of pictures by painters of the French school at the Guildhall. He had also spent a week in Paris in 1901. And in May 1902, he travelled to France and Belgium with E. Phillips Fox and Fox may have discussed the ideas of 'broken colour' with Streeton.)12 Streeton regarded his two images of Trafalgar Square as the finest paintings he had produced since arriving in England. He wrote to Roberts in February 1902: ‘Trafalgar Square 4 feet square - Best I've done yet in England - from top of St Martins' Church in Dec. a tough job - drawn in 1 day & painted in 4 days - I'll try it at the R. A. But I get accepted there and never hung - during past week I made a swift copy of it, & it goes tomorrow to the Salon.’13 The 'swift copy' was not so much a copy as a full-scale second version at a different time of day; nothing less would have been appropriate to send to the Société des Artistes Français. Despite Streeton's doubts, one painting was accepted by the Royal Academy and the other by the Société.

In Australia, he had painted atmospheric scenes of the modern city, seen from above, such as The railway station, Redfern, 1893, and Fireman's funeral, George Street, 1894, but this London pair are larger, more ambitious works.14 He showed the beauty of the wintry city under a veiled light, with Trafalgar Square lively and luminous, enveloped in a silvery mist. The reflections gleam on the wet street and in the pond, the line of traffic enlivens the scene, and the ephemeral buildings hover in the background. As a critic wrote in 1909, the image is full of 'tenderness, mystery and harmony of tones'.15

1. Arthur Streeton letter to Tom Roberts, 8 Jan 1901, in Galbally, A. & Gray, A., (eds), Letters from Smike: the letters of Arthur Streeton 1890-1943, Oxford University Press, Melbourne, 1989, p. 85
2. London at that time had a population of around 6,480, 000 - almost double that of Paris.
3. Arthur Streeton letter to Tom Roberts, 28 Jun 1898, in Galbally & Gray, op.cit., p. 78
4. Streeton later owned a work by Frits Thaulow, In Dieppe (private collection). He may have obtained it through Conder, who was a friend of Thaulow.
5. Barnett, with his wife, had travelled with Streeton to Cairo, and had lent Streeton his camera to use in Cairo.
6. Australasian Critic, 1 Jul 1891, p 240. This critic wrote that 'the one thing that is essential to his future reputation is to seek, as soon as possible, the best Parisian instruction'.
7. Streeton was formally elected to membership of the Chelsea Arts Club on 5 Jan 1903: proposed by Francis Derwent Wood; seconded by Norman Hardy; and supported by Philip Wilson Steer, AS Haynes and Alfred Hayward.
8. Arthur Streeton letter to Tom Roberts, 22 Jun 1899, in Galbally & Gray, op.cit., p. 80
9. Eagle, M., The oil paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, pp. 124-25, 203-04. In 1905, Streeton was commissioned to paint shipping and dockyard scenes by Walter Russell Rea, Liberal MP (1873-1943). He was heir to the firm of R. & J.H. Rea Shipowners and Merchants, which was founded in Liverpool in the 1870s, and by the early 1900s, had branches in Cardiff, Southampton, Bristol and Newcastle-on-Tyne. In 1896, Rea married Evelyn Muirhead. Nora Clench's sister had married Evelyn's brother, Findlay, in 1892, hence the connection.
10. Arthur Streeton letter to Tom Roberts, 7 Aug 1902, in Galbally & Gray, pp. 92-93
11. Streeton had first used a square canvas this size in 1896, just before he left Australia, for 'The purple noon's transparent might'. The painting was purchased by the National Gallery of Victoria that year, and Streeton may have believed that the size and scale had contributed to its success. He used it again for his two large Trafalgar Square paintings of 1901 and 1902, and in 1907 for Sydney Harbour, which was purchased by the National Gallery of Victoria in 1910, a few years after he painted it.
12. The visit to Paris in 1901 is recorded in Eagle., op.cit., p. 202, and the May 1902 trip to France and Belgium with E Phillips Fox in Eagle., op.cit, p. 203
13. Arthur Streeton letter to Tom Roberts, 14 Feb 1902, in Galbally & Gray, p. 91
14. In Mar 1906, GWL Marshall-Hall saw a number of Streeton's recent canvases at Herbert Streeton's home and directed Walter Baldwin Spencer towards Trafalgar Square, 1901. Spencer acquired the painting for £100 (and apparently convinced Streeton to call it The centre of the Empire). See Mulvaney, D.J. & Calaby, J.H., So much that is new: Baldwin Spencer 1860-1929: a biography, Melbourne University Press, Melbourne, 1985, pp. 338-39 and note 18
15. Irwin MacDonald, M., 'Arthur Streeton: an Australian painter who has solved the problems art in his own way', The Craftsman, vol. 16-17, no. 2, Nov 1909, p. 163

DR ANNE GRAY

×

Streeton Arthur Centre of the Empire

Reference: see Deutscher & Hackett, IMPORTANT WOMEN ARTISTS + SELECTED AUSTRALIAN AND INTERNATIONAL FINE ART, MELBOURNE, 10 November 2021, lot
36
ARTHUR STREETON
(1867 - 1943)
THE CENTRE OF THE EMPIRE, 1902
oil on canvas
122.5 x 122.5 cm
signed and dated lower left: ArthuR STREETON / 1902
PROVENANCE
Sir Walter Baldwin Spencer, Melbourne, by 1907
The Baldwin Spencer Collection of Australian Pictures and Works of Art, Fine Art Society, Melbourne, 19 May 1919, lot 30
Acquired from the above by Mr A.T. Creswick, Melbourne, until 1939
Thence by descent
Sir Alexander Reid Creswick, Melbourne, until 1982
Thence by descent
Private collection, Sydney
EXHIBITED
Salon de la Société des Artistes Français, Grand Palais, Paris, 1 May 1902, cat. 1527 (as ‘Gelée du matin, Londres’)
Arthur Streeton, Ryder Gallery, London, 2 May 1903, cat. 22 (as ‘Trafalgar Square’)
An Exhibition of Pictures by Arthur Streeton Prior to his Return to Europe, Upper Hibernian Hall, Melbourne, 20 April 1907, cat. 67 (illus., as ‘The Centre of the Empire’)
Sir W. Baldwin Spencer’s Collection, National Art Gallery of New South Wales, Sydney, 1 December 1916, cat. 6
Loan Exhibition, Collection of Paintings and Drawings by Australian Artists executed during the last 25 to 30 Years, National Art Gallery of New South Wales, Sydney, April 1918, cat. 13 (illus. p.7 of exhibition catalogue, as ‘Centre of the Empire’)
Arthur Streeton Memorial Exhibition, National Gallery of Victoria, Melbourne, 5 September – 7 October 1944, cat. 68 (as ‘The Heart of the Empire’, lent by Mrs Alexander Creswick)
Arthur Streeton 1867–1943, National Gallery of Victoria, Melbourne, 8 December 1995 – 3 November 1996, cat. 59
Streeton, Art Gallery of New South Wales, Sydney, 7 November 2020 – 14 February 2021 (as ‘The Centre of the Empire’) 
LITERATURE
Joel, G., ‘Australian Artists in London: A reminiscence’, Art and Architecture, William Brooks and Co., Sydney, vol. 3, no. 3, May – June 1906, p.101 (as ‘the Trafalgar Square picture’)
The Lone Hand, Sydney, 1 July 1907, vol. 1, no. 3, pp. 309, 310 (illus., as ‘The Centre of the Empire’)
Lindsay, L., ‘Arthur Streeton’s place in Australian Art’, Art in Australia, Angus and Robertson Ltd., Sydney, no. 2, 1917, n.p. (as ‘The Centre of the Empire’)
‘The Loan Exhibition’, Sydney Morning Herald, Sydney, 4 April 1918, p.4
‘Australian Pictures: The Spencer Collection’, The Argus, Melbourne, 3 May 1919, p.9 (as ‘The Centre of the Empire’)
Lloyd Jones, C., Stevens, B., & Smith, U., The Art of Arthur Streeton, Angus and Robertson, Sydney, 1919, pl. 25 (illus.)
‘Art Notes: Mr Arthur Streeton Among the Grampians’, The Age, Melbourne, 2 November 1920, p. 8 (as ‘The Centre of the Empire’)
McDonald, J.S., ‘Australian Artists. No. 6. Arthur Streeton’, The Herald, Melbourne, 12 September 1924, p. 6 (as ‘Centre of the Empire’)
Lindsay, L.,’ Arthur Streeton’, Art in Australia, Third Series, no. 40, Art in Australia Ltd., Sydney, October 1931, p. 10 (as ‘The Centre of Empire’)
Streeton, A., The Arthur Streeton Catalogue, Osboldstone & Co., Melbourne, 1935, cat. 258B (as 'Trafalgar Square' (Mr. A. T. Creswick))
Galbally, A., Arthur Streeton, Lansdowne, Melbourne, 1969, cat. 94
Wray, C., Arthur Streeton: Painter of Light, Jacaranda Wiley, Milton, 1993, pp.97, 100, 102
Eagle, M., The Oil Paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, p.140 (dated as c.1901)
Smith, G., Arthur Streeton 1867–1943, National Gallery of Victoria, Melbourne, 1995, cat. 59, pp.140–141 (illus.)
Tunnicliffe, W., Streeton, Art Gallery of New South Wales and Thames & Hudson, Sydney, 2020, pp.174 – 75, 183 (illus.), 197, 284 – 285, 336, 371
RELATED WORKS
Frosty Noon, 1901, oil on canvas, 122.5 x 122.5 cm, in the collection of the National Gallery of Victoria, Melbourne
CATALOGUE TEXT

210633 ALICE MILLS, PORTRAIT OF ARTHUR STREETON.JPG

Untitled (Portrait of Arthur Streeton), 1907
Photographer: Alice Mills (Australia, 1870 – 1929)
platinotype gelatin silver photograph, 13.9 x 10 cm
Art Gallery of New South Wales, Sydney
Purchased 1983
188.1983
We are grateful to Dr Anne Gray, curator and former Head of Australian Art at the National Gallery of Australia, Canberra, for her permission to reproduce the following excerpt from her essay featured in the catalogue accompanying the recent Streeton retrospective at the Art Gallery of New South Wales, Sydney, 7 November 2020 – 14 February 2021.

‘London & England what a mighty thing it all is ... London seems even too large & almost beyond the management of the capable men now directing it - the rate of its growth increases each day - its wealth stupendous.’1
 
Arthur Streeton wrote this in London in January 1901. Queen Victoria was ill and dying, and the city, England and the British Commonwealth were on the brink of change. London had become the largest city in Europe,2 and its energy attracted artists, musicians and writers from all over the western world. Streeton arrived in early May 1897, having departed Australia on 27 January.
In England, over more than fifteen years, Streeton began to paint differently. The reasons for this were fourfold.
 
First, what he saw was not the same: the softer English light and London fog were so different from the bright, sharp light and strong colours of Australia. Also, as he reported to Tom Roberts in June 1898, 'I feel convinced that my work hereafter will contain a larger idea & quality than before - After seeing Constable Turner Titian Watts & all the masters'.3 He saw, too, the works of a wide range of artists of the day. In 1898 he wrote that he preferred the International Society of Sculptors, Painters and Gravers exhibition to the staid presentation of British art at the Royal Academy. The former included works by Charles Conder, James Abbott McNeill Whistler and the Scottish School (the Glasgow Boys), as well as Paul Cézanne, Edgar Degas, Edouard Manet, Claude Monet and the French-based Norwegian artist Frits Thaulow.4
 
Fourthly, successful artists need a network of advisers and supporters, friends and challengers - even rivals. In Streeton's first years in London, he was adrift without the camaraderie of his mentor Roberts and 'sparring partner, Conder', who lived in England but frequently travelled. His loneliness, poverty and experience of bitter winter led to depression. He was in contact with the photographer H. Walter Barnett, now residing in London,5 but Barnett could not provide relevant advice. It may be that one of Streeton's mistakes was not following an Australian critic's advice to study in Paris.6 He certainly would have met fellow artists, as did Conder (Will Rothenstein and Henri de Toulouse-Lautrec) and John Russell (Vincent van Gogh), and found a circle of friends to provide support and guidance.

210633 ARTHUR STREETON, FROSTY NOON, NGV.JPG

Arthur Streeton
Frosty Noon, 1901
oil on canvas
122.5 x 122.5 cm
National Gallery of Victoria, Melbourne
Streeton did meet up with Conder, who was willing to help his old friend and even share his studio with him, but Conder had established himself in France and England, and the balance of the relationship had changed. Following Conder's marriage to Stella Maris Belford in December 1901, Streeton felt more comfortable in his company, and in 1902 spent Christmas with the couple. When Roberts arrived in London in April 1903, Streeton eagerly resumed their friendship. He also encountered a number of former Australian acquaintances, such as the artists E. Phillips Fox and A. Henry Fullwood, and gradually met British artists like Philip Wilson Steer (who in January 1903 supported Streeton's nomination to become a member of the Chelsea Arts Club, where he met further British contemporaries).7
 
Importantly, by 1899 Streeton had met his future wife, the Canadian violinist Nora Clench. He reported to Roberts that she was 'wise (advises me as you often used to - to spur me into energy & better things)'.8 She was interested in the arts - in poetry and painting - as well as being a highly talented musician, with her own quartet. She had contacts, people who could offer Streeton commissions, such as Walter Russell Rea, who commissioned him in 1905 to depict shipping and dockland scenes at Southampton and Liverpool, and the Mond family, to paint landscapes in Kent in 1913.9
 
In the summer of 1898, Streeton travelled to Sussex, where he painted his first English landscape, Sussex harvest 1898. To some extent, he adopted a format he had used in Australia, in works such as 'What thou among the leaves hast never known' (also known as A bush idyll), 1896, depicting a scene framed by overarching trees; here, however, he depicted a sunny landscape rather than a poetic moonlit one. By this time, he would have had the opportunity to view John Constable's The cornfield, 1826 (National Gallery, London), which is also a view through trees towards a cornfield, under sunlit clouds. Streeton was dissatisfied with his own painting, writing to Roberts in 1902: ‘The first & only chance I've had yet at English landscape was Sussex soon after my arrival - all too new, & fresh - now - I see more clearly what I can do for myself.’10
 
It was a 'good enough' first attempt at an English pastoral scene, but he needed more time to assimilate the new landscape, the new light and the ideas of earlier artists. Nonetheless, the painting was exhibited at the Royal Academy in June 1899 and with the Society of Artists in Australia later that year.

NOVL21 CAT PROOF 7_10_2021 B (2) (002).JPG

Arthur Streeton with Nora Streeton
(née Clench), with Pat, the dog, at
their Hill Road Home, London, c.1909
Photographer: Walter Barnett
National Gallery of Australia, Canberra
By 1901, Streeton had become accustomed to London's frosty, foggy winter atmosphere. He responded to the muted light in The centre of the Empire (also known as Foggy morning), one of two large square (122.5 x 122.5 cm) images of Trafalgar Square, painted in 1901-02; the other is Frosty noon, 1901 (National Gallery of Victoria). Streeton was not only using a canvas of a similar size and shape to those used by Monet,11 but also, like Monet, painting a similar scene at different times of day. Streeton was also adopting the urban subject often depicted by the French artists. (He had viewed the work of French artists in 1898 in the International Society of Sculptors, Painters and Gravers exhibition and in the Loan collection of pictures by painters of the French school at the Guildhall. He had also spent a week in Paris in 1901. And in May 1902, he travelled to France and Belgium with E. Phillips Fox and Fox may have discussed the ideas of 'broken colour' with Streeton.)12 Streeton regarded his two images of Trafalgar Square as the finest paintings he had produced since arriving in England. He wrote to Roberts in February 1902: ‘Trafalgar Square 4 feet square - Best I've done yet in England - from top of St Martins' Church in Dec. a tough job - drawn in 1 day & painted in 4 days - I'll try it at the R. A. But I get accepted there and never hung - during past week I made a swift copy of it, & it goes tomorrow to the Salon.’13 The 'swift copy' was not so much a copy as a full-scale second version at a different time of day; nothing less would have been appropriate to send to the Société des Artistes Français. Despite Streeton's doubts, one painting was accepted by the Royal Academy and the other by the Société.

In Australia, he had painted atmospheric scenes of the modern city, seen from above, such as The railway station, Redfern, 1893, and Fireman's funeral, George Street, 1894, but this London pair are larger, more ambitious works.14 He showed the beauty of the wintry city under a veiled light, with Trafalgar Square lively and luminous, enveloped in a silvery mist. The reflections gleam on the wet street and in the pond, the line of traffic enlivens the scene, and the ephemeral buildings hover in the background. As a critic wrote in 1909, the image is full of 'tenderness, mystery and harmony of tones'.15

1. Arthur Streeton letter to Tom Roberts, 8 Jan 1901, in Galbally, A. & Gray, A., (eds), Letters from Smike: the letters of Arthur Streeton 1890-1943, Oxford University Press, Melbourne, 1989, p. 85
2. London at that time had a population of around 6,480, 000 - almost double that of Paris.
3. Arthur Streeton letter to Tom Roberts, 28 Jun 1898, in Galbally & Gray, op.cit., p. 78
4. Streeton later owned a work by Frits Thaulow, In Dieppe (private collection). He may have obtained it through Conder, who was a friend of Thaulow.
5. Barnett, with his wife, had travelled with Streeton to Cairo, and had lent Streeton his camera to use in Cairo.
6. Australasian Critic, 1 Jul 1891, p 240. This critic wrote that 'the one thing that is essential to his future reputation is to seek, as soon as possible, the best Parisian instruction'.
7. Streeton was formally elected to membership of the Chelsea Arts Club on 5 Jan 1903: proposed by Francis Derwent Wood; seconded by Norman Hardy; and supported by Philip Wilson Steer, AS Haynes and Alfred Hayward.
8. Arthur Streeton letter to Tom Roberts, 22 Jun 1899, in Galbally & Gray, op.cit., p. 80
9. Eagle, M., The oil paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, pp. 124-25, 203-04. In 1905, Streeton was commissioned to paint shipping and dockyard scenes by Walter Russell Rea, Liberal MP (1873-1943). He was heir to the firm of R. & J.H. Rea Shipowners and Merchants, which was founded in Liverpool in the 1870s, and by the early 1900s, had branches in Cardiff, Southampton, Bristol and Newcastle-on-Tyne. In 1896, Rea married Evelyn Muirhead. Nora Clench's sister had married Evelyn's brother, Findlay, in 1892, hence the connection.
10. Arthur Streeton letter to Tom Roberts, 7 Aug 1902, in Galbally & Gray, pp. 92-93
11. Streeton had first used a square canvas this size in 1896, just before he left Australia, for 'The purple noon's transparent might'. The painting was purchased by the National Gallery of Victoria that year, and Streeton may have believed that the size and scale had contributed to its success. He used it again for his two large Trafalgar Square paintings of 1901 and 1902, and in 1907 for Sydney Harbour, which was purchased by the National Gallery of Victoria in 1910, a few years after he painted it.
12. The visit to Paris in 1901 is recorded in Eagle., op.cit., p. 202, and the May 1902 trip to France and Belgium with E Phillips Fox in Eagle., op.cit, p. 203
13. Arthur Streeton letter to Tom Roberts, 14 Feb 1902, in Galbally & Gray, p. 91
14. In Mar 1906, GWL Marshall-Hall saw a number of Streeton's recent canvases at Herbert Streeton's home and directed Walter Baldwin Spencer towards Trafalgar Square, 1901. Spencer acquired the painting for £100 (and apparently convinced Streeton to call it The centre of the Empire). See Mulvaney, D.J. & Calaby, J.H., So much that is new: Baldwin Spencer 1860-1929: a biography, Melbourne University Press, Melbourne, 1985, pp. 338-39 and note 18
15. Irwin MacDonald, M., 'Arthur Streeton: an Australian painter who has solved the problems art in his own way', The Craftsman, vol. 16-17, no. 2, Nov 1909, p. 163

DR ANNE GRAY

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Dobell Williamview full entry

Reference: see Douglas Stewart Fine Books catalogue November, 2021: DOBELL, William (1899 - 1970) Study for Portrait (Peter Burns) 1943. Oil on card, signed and titled centre right W. Dobell / Study / for Portrait, 38 x 30 cm, finely framed in period style.
After several formative years spent in London, the mid-career Dobell returned to Sydney in 1938, just prior to the war. The next few years saw him produce some of his finest and most memorable portraits; The Cypriot (1940), The Strapper (1941), The Billy Boy (1943), and Portrait of a boy (for which this is the study) being recognised as innovative and insightful examples. His Archibald Prize entry the same year, Portrait of an artist (Joshua Smith) would see Dobell’s fortunes change, his exaggerated stylisation of Smith’s portrait deemed a grotesquery of portraiture. Today, Dobell is regarded as one of Australia’s greatest portrait painters, his rejected prize entry instantly recognisable as of of the most distinctive images in Australian art.
Having appeared at auction on at least two occasions, Study for Portrait and its related work Portrait of a Boy have suffered from anonymity when previously offered for sale. It is by reference to Dobell’s major retrospective at the Art Gallery of New South Wales in 1964, the sitter’s identity is revealed. Catalogue number 101, Portrait of a Boy is identified as Peter Burns (born 1924), painted at the age of nineteen. Burns would go on to enjoy a successful career as an artist, architect and designer, holding a number of solo exhibitions at the Museum of Modern Art (Heide) in 1958 and 1959. The following year, Burns would design the exhibition catalogue for William Dobell at Heide, Dobell’s first solo exhibition in Melbourne, where this work was also exhibited under the title Study of a boy. Possibly Burns requested he was not identified as the sitter in the catalogue, given his close connection to the gallery. The portrait was commissioned by Mrs. Gregory Blaxland (Helen Blaxland, née Anderson, 1907-1989), who had previously commissioned Dobell to paint a fine portrait of herself and her daughter Antonia in 1941 at their residence in Woollahra. Study for Portrait (this work) left the Blaxland collection some time in the 1960s, with the Blaxland’s also selling their portrait of Helen and Antonia in 1972, and the major work  Portrait of a Boy in 1974. The Study went to Barry Stern’s gallery in Sydney, and has since passed through private hands, its auction appearance without any identification of sitter.
Portrait of a boy (Peter Burns) and Portrait of an artist (Joshua Smith) were both painted in 1943, a critical year in Dobell’s career with his prize winning portrait of Smith critically ravaged in the press and subject to litigation. Now, the portrait is regarded as an Australian masterpiece, with its study (measuring a mere 36 x 25 cms) selling for a record breaking AUD $915,000 in 2019 (Bonhams Sydney, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, lot 215).
A fine and handsome portrait by William Dobell of Peter Burns, a fellow painter in the prime of youth, and a figure whose connection to Dobell’s life and career would be ongoing.
 
Related work:
Portrait of a Boy, oil, 72 x 53 cm, Geoff K. Gray, Australian Paintings, Sydney, 13 February 1974, lot 27 (originally in the possession of Mr. and Mrs. Gregory Blaxland)
Illustrated: GLEESON, James. William Dobell. London : Thames & Hudson, 1964, plate 45
Illustrated: The art of William Dobell, Sydney : Ure Smith, 1946, p. 113
 
Exhibited:
William Dobell. Museum of Modern Art of Australia, Melbourne, May 17 to June 10, 1960, catalogue no. 15, ‘Study of a Boy’, 1945, Collection of Mrs. Gregory Blaxland, Sydney
 
Provenance:
Barry Stern Gallery, Sydney.
Private collection, Sydney (purchased from the above in 1968).
Fine Australian Art, Sothebys, Sydney, 28 June, 2005, lot no. 471 (illustrated)
Private collection, Hobart.
Mossgreen Auctions, Fine Art, Melbourne, 27/11/2017, Lot No. 31
Peter Arnold, Melbourne
acquired from the above

×

Dobell William

Reference: see Douglas Stewart Fine Books catalogue November, 2021: DOBELL, William (1899 - 1970) Study for Portrait (Peter Burns) 1943. Oil on card, signed and titled centre right W. Dobell / Study / for Portrait, 38 x 30 cm, finely framed in period style.
After several formative years spent in London, the mid-career Dobell returned to Sydney in 1938, just prior to the war. The next few years saw him produce some of his finest and most memorable portraits; The Cypriot (1940), The Strapper (1941), The Billy Boy (1943), and Portrait of a boy (for which this is the study) being recognised as innovative and insightful examples. His Archibald Prize entry the same year, Portrait of an artist (Joshua Smith) would see Dobell’s fortunes change, his exaggerated stylisation of Smith’s portrait deemed a grotesquery of portraiture. Today, Dobell is regarded as one of Australia’s greatest portrait painters, his rejected prize entry instantly recognisable as of of the most distinctive images in Australian art.
Having appeared at auction on at least two occasions, Study for Portrait and its related work Portrait of a Boy have suffered from anonymity when previously offered for sale. It is by reference to Dobell’s major retrospective at the Art Gallery of New South Wales in 1964, the sitter’s identity is revealed. Catalogue number 101, Portrait of a Boy is identified as Peter Burns (born 1924), painted at the age of nineteen. Burns would go on to enjoy a successful career as an artist, architect and designer, holding a number of solo exhibitions at the Museum of Modern Art (Heide) in 1958 and 1959. The following year, Burns would design the exhibition catalogue for William Dobell at Heide, Dobell’s first solo exhibition in Melbourne, where this work was also exhibited under the title Study of a boy. Possibly Burns requested he was not identified as the sitter in the catalogue, given his close connection to the gallery. The portrait was commissioned by Mrs. Gregory Blaxland (Helen Blaxland, née Anderson, 1907-1989), who had previously commissioned Dobell to paint a fine portrait of herself and her daughter Antonia in 1941 at their residence in Woollahra. Study for Portrait (this work) left the Blaxland collection some time in the 1960s, with the Blaxland’s also selling their portrait of Helen and Antonia in 1972, and the major work  Portrait of a Boy in 1974. The Study went to Barry Stern’s gallery in Sydney, and has since passed through private hands, its auction appearance without any identification of sitter.
Portrait of a boy (Peter Burns) and Portrait of an artist (Joshua Smith) were both painted in 1943, a critical year in Dobell’s career with his prize winning portrait of Smith critically ravaged in the press and subject to litigation. Now, the portrait is regarded as an Australian masterpiece, with its study (measuring a mere 36 x 25 cms) selling for a record breaking AUD $915,000 in 2019 (Bonhams Sydney, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, lot 215).
A fine and handsome portrait by William Dobell of Peter Burns, a fellow painter in the prime of youth, and a figure whose connection to Dobell’s life and career would be ongoing.
 
Related work:
Portrait of a Boy, oil, 72 x 53 cm, Geoff K. Gray, Australian Paintings, Sydney, 13 February 1974, lot 27 (originally in the possession of Mr. and Mrs. Gregory Blaxland)
Illustrated: GLEESON, James. William Dobell. London : Thames & Hudson, 1964, plate 45
Illustrated: The art of William Dobell, Sydney : Ure Smith, 1946, p. 113
 
Exhibited:
William Dobell. Museum of Modern Art of Australia, Melbourne, May 17 to June 10, 1960, catalogue no. 15, ‘Study of a Boy’, 1945, Collection of Mrs. Gregory Blaxland, Sydney
 
Provenance:
Barry Stern Gallery, Sydney.
Private collection, Sydney (purchased from the above in 1968).
Fine Australian Art, Sothebys, Sydney, 28 June, 2005, lot no. 471 (illustrated)
Private collection, Hobart.
Mossgreen Auctions, Fine Art, Melbourne, 27/11/2017, Lot No. 31
Peter Arnold, Melbourne
acquired from the above

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Burns Peterview full entry

Reference: see Douglas Stewart Fine Books catalogue November, 2021: DOBELL, William (1899 - 1970) Study for Portrait [of artist Peter Burns] 1943. Oil on card, signed and titled centre right W. Dobell / Study / for Portrait, 38 x 30 cm, finely framed in period style.
After several formative years spent in London, the mid-career Dobell returned to Sydney in 1938, just prior to the war. The next few years saw him produce some of his finest and most memorable portraits; The Cypriot (1940), The Strapper (1941), The Billy Boy (1943), and Portrait of a boy (for which this is the study) being recognised as innovative and insightful examples. His Archibald Prize entry the same year, Portrait of an artist (Joshua Smith) would see Dobell’s fortunes change, his exaggerated stylisation of Smith’s portrait deemed a grotesquery of portraiture. Today, Dobell is regarded as one of Australia’s greatest portrait painters, his rejected prize entry instantly recognisable as of of the most distinctive images in Australian art.
Having appeared at auction on at least two occasions, Study for Portrait and its related work Portrait of a Boy have suffered from anonymity when previously offered for sale. It is by reference to Dobell’s major retrospective at the Art Gallery of New South Wales in 1964, the sitter’s identity is revealed. Catalogue number 101, Portrait of a Boy is identified as Peter Burns (born 1924), painted at the age of nineteen. Burns would go on to enjoy a successful career as an artist, architect and designer, holding a number of solo exhibitions at the Museum of Modern Art (Heide) in 1958 and 1959. The following year, Burns would design the exhibition catalogue for William Dobell at Heide, Dobell’s first solo exhibition in Melbourne, where this work was also exhibited under the title Study of a boy. Possibly Burns requested he was not identified as the sitter in the catalogue, given his close connection to the gallery. The portrait was commissioned by Mrs. Gregory Blaxland (Helen Blaxland, née Anderson, 1907-1989), who had previously commissioned Dobell to paint a fine portrait of herself and her daughter Antonia in 1941 at their residence in Woollahra. Study for Portrait (this work) left the Blaxland collection some time in the 1960s, with the Blaxland’s also selling their portrait of Helen and Antonia in 1972, and the major work  Portrait of a Boy in 1974. The Study went to Barry Stern’s gallery in Sydney, and has since passed through private hands, its auction appearance without any identification of sitter.
Portrait of a boy (Peter Burns) and Portrait of an artist (Joshua Smith) were both painted in 1943, a critical year in Dobell’s career with his prize winning portrait of Smith critically ravaged in the press and subject to litigation. Now, the portrait is regarded as an Australian masterpiece, with its study (measuring a mere 36 x 25 cms) selling for a record breaking AUD $915,000 in 2019 (Bonhams Sydney, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, lot 215).
A fine and handsome portrait by William Dobell of Peter Burns, a fellow painter in the prime of youth, and a figure whose connection to Dobell’s life and career would be ongoing.
 
Related work:
Portrait of a Boy, oil, 72 x 53 cm, Geoff K. Gray, Australian Paintings, Sydney, 13 February 1974, lot 27 (originally in the possession of Mr. and Mrs. Gregory Blaxland)
Illustrated: GLEESON, James. William Dobell. London : Thames & Hudson, 1964, plate 45
Illustrated: The art of William Dobell, Sydney : Ure Smith, 1946, p. 113
 
Exhibited:
William Dobell. Museum of Modern Art of Australia, Melbourne, May 17 to June 10, 1960, catalogue no. 15, ‘Study of a Boy’, 1945, Collection of Mrs. Gregory Blaxland, Sydney
 
Provenance:
Barry Stern Gallery, Sydney.
Private collection, Sydney (purchased from the above in 1968).
Fine Australian Art, Sothebys, Sydney, 28 June, 2005, lot no. 471 (illustrated)
Private collection, Hobart.
Mossgreen Auctions, Fine Art, Melbourne, 27/11/2017, Lot No. 31
Peter Arnold, Melbourne
acquired from the above

×

Burns Peter

Reference: see Douglas Stewart Fine Books catalogue November, 2021: DOBELL, William (1899 - 1970) Study for Portrait [of artist Peter Burns] 1943. Oil on card, signed and titled centre right W. Dobell / Study / for Portrait, 38 x 30 cm, finely framed in period style.
After several formative years spent in London, the mid-career Dobell returned to Sydney in 1938, just prior to the war. The next few years saw him produce some of his finest and most memorable portraits; The Cypriot (1940), The Strapper (1941), The Billy Boy (1943), and Portrait of a boy (for which this is the study) being recognised as innovative and insightful examples. His Archibald Prize entry the same year, Portrait of an artist (Joshua Smith) would see Dobell’s fortunes change, his exaggerated stylisation of Smith’s portrait deemed a grotesquery of portraiture. Today, Dobell is regarded as one of Australia’s greatest portrait painters, his rejected prize entry instantly recognisable as of of the most distinctive images in Australian art.
Having appeared at auction on at least two occasions, Study for Portrait and its related work Portrait of a Boy have suffered from anonymity when previously offered for sale. It is by reference to Dobell’s major retrospective at the Art Gallery of New South Wales in 1964, the sitter’s identity is revealed. Catalogue number 101, Portrait of a Boy is identified as Peter Burns (born 1924), painted at the age of nineteen. Burns would go on to enjoy a successful career as an artist, architect and designer, holding a number of solo exhibitions at the Museum of Modern Art (Heide) in 1958 and 1959. The following year, Burns would design the exhibition catalogue for William Dobell at Heide, Dobell’s first solo exhibition in Melbourne, where this work was also exhibited under the title Study of a boy. Possibly Burns requested he was not identified as the sitter in the catalogue, given his close connection to the gallery. The portrait was commissioned by Mrs. Gregory Blaxland (Helen Blaxland, née Anderson, 1907-1989), who had previously commissioned Dobell to paint a fine portrait of herself and her daughter Antonia in 1941 at their residence in Woollahra. Study for Portrait (this work) left the Blaxland collection some time in the 1960s, with the Blaxland’s also selling their portrait of Helen and Antonia in 1972, and the major work  Portrait of a Boy in 1974. The Study went to Barry Stern’s gallery in Sydney, and has since passed through private hands, its auction appearance without any identification of sitter.
Portrait of a boy (Peter Burns) and Portrait of an artist (Joshua Smith) were both painted in 1943, a critical year in Dobell’s career with his prize winning portrait of Smith critically ravaged in the press and subject to litigation. Now, the portrait is regarded as an Australian masterpiece, with its study (measuring a mere 36 x 25 cms) selling for a record breaking AUD $915,000 in 2019 (Bonhams Sydney, Fairwater: The Collection of Sir Warwick and Lady Fairfax AC OBE, 22 Sep 2019, lot 215).
A fine and handsome portrait by William Dobell of Peter Burns, a fellow painter in the prime of youth, and a figure whose connection to Dobell’s life and career would be ongoing.
 
Related work:
Portrait of a Boy, oil, 72 x 53 cm, Geoff K. Gray, Australian Paintings, Sydney, 13 February 1974, lot 27 (originally in the possession of Mr. and Mrs. Gregory Blaxland)
Illustrated: GLEESON, James. William Dobell. London : Thames & Hudson, 1964, plate 45
Illustrated: The art of William Dobell, Sydney : Ure Smith, 1946, p. 113
 
Exhibited:
William Dobell. Museum of Modern Art of Australia, Melbourne, May 17 to June 10, 1960, catalogue no. 15, ‘Study of a Boy’, 1945, Collection of Mrs. Gregory Blaxland, Sydney
 
Provenance:
Barry Stern Gallery, Sydney.
Private collection, Sydney (purchased from the above in 1968).
Fine Australian Art, Sothebys, Sydney, 28 June, 2005, lot no. 471 (illustrated)
Private collection, Hobart.
Mossgreen Auctions, Fine Art, Melbourne, 27/11/2017, Lot No. 31
Peter Arnold, Melbourne
acquired from the above

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Smith Gray numerous refsview full entry

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]
Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

×

Smith Gray numerous refs

Reference: see Modern Love - The Lives of John & Sunday Reed. By: Kendrah Morgan, Lesley Harding. [’Much has been written about the lives and art of Heide, but finally the remaining members of the inner circle have entrusted the full story to be told through this intimate biography of John and Sunday Reed.

Part romance, part tragedy, Modern Love explores the complex lives of these champions of successive generations of Australian artists and writers, detailing their artistic endeavours and passionate personal entanglements.

It is a story of rebellion against their privileged backgrounds and of a bohemian existence marked by extraordinary achievements, intense heartbreak and enduring love. John and Sunday's was a remarkable partnership that affected all those who crossed the threshold into Heide and which altered the course of art in Australia.

About the Author

Lesley Harding and Kendrah Morgan are curators at Heide Museum of Modern Art, Melbourne. They co-authored Sunday's Kitchen and Sunday's Garden.’]

Publishing details: MUP, 2015, pb, 401pp, with index and selected bibliography.

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Rae Isoview full entry

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22, lot 23
ISO RAE
PROVENANCE
Jules de Beaumont, France, acquired directly from the artist, c.1909
Thence by descent
Private collection, France
Thence by descent
Private collection, France 
EXHIBITED
55e Exposition de la Société des Amis des Arts de Douai, Douai, France, 1909, cat. 222 
CATALOGUE TEXT
Following formal training at the National Gallery School in Melbourne alongside Frederick McCubbin, Tom Roberts and Jane Sutherland, Isobel Rae and her sister Alison travelled to Paris in 1887 with their mother, intending to further their promising artistic studies.1 Although they would encounter many visiting compatriots in the vibrant expatriate artistic colony of Étaples, a fishing port on the north-western Opal Coast of France where they settled in 1893, they were never to return to Australia. Iso Rae remained unmarried and was closely attached to her family. Her impressionist paintings depicted the humble fisherfolk of the village with compassion and respect for the local culture and customs. In 1906, fellow expatriate artist Grace Joel praised Rae’s ability to ‘paint outdoor figure subjects with rare charm and poetry.’2Une Tricoteuse (A Knitter), c.1909 is one such work – a tender portrait of a young local peasant woman knitting in the garden, lost in reverie, and bathed in brilliant sunlight.
 
In the same manner as leading impressionists back home, Iso Rae mostly worked in the open air, direct from the motif. Utilising life-drawing skills acquired at the progressive Académie Colarossi in Paris, Rae achieved some level of success in the style of genre painting, regularly sending paintings to the Old Salon, the Société Nationale des Beaux Arts, the Royal Society of British Painters and other local salons. In the summer of 1910 when her former National Gallery classmate Hilda Rix Nicholas arrived in Étaples, Iso Rae obtained a studio space for her in the garden of Monsieur and Madame Monthuys-Pannier, adjacent to one occupied by Jules Adler, a successful French genre painter known for his style of social realism as ‘the painter of the people.’3 Alder’s influence on both Rae and Rix Nicholas can be keenly felt in their humanistic portraits recording the ordinary lives of the women of Étaples while the men were out at sea. Models were apparently plentiful and would pose well for a small payment, either in the studio or in the picturesque gardens that lie hidden behind the street doors.4
 
The young knitter stands alone in a garden, absent mindedly attending to her domestic chores, perhaps while she watches over children at play. She wears a simple outfit, her hair uncovered without the traditional calipette (Breton bonnet). Using lilac tones highlighted with impasto white and pale pink pigment, the figure of the woman blends harmoniously with the immersive green hues of her background. Rae pays particular focus to light and texture, from the soft modulated greens of the moist garden to the structural deep pleats of the woman’s blouse and coarse knitting dangling from her hands. Her emphasis on the tactile qualities of both the paint and the landscape is shared with other exponents of Australian Impressionism.5 The large scale of the figure and absence of a horizon line is characteristic of Rae’s work of this period, as can be seen also in the format of Young Girl, Étaples, c.1892, in the collection of the National Gallery of Victoria. The flush of youth and private smile of this young woman hint to an inner life beyond her immediate domestic travail and creates a peaceful and intimate atmosphere with the viewer.
 
After its exhibition in a local salon in Douai in 1909, Une Tricoteuse was purchased by a well-regarded local magistrate who collected paintings from this region including others by Frits Thaulow, William Gore, and Henri Le Sidaner. Having been passed down within his family in France, this is the first time that the painting has been seen in Australia.
 
1. Finucane, P. and Stuart, C., Odd Roads To Be Walking, Red Barn Publishing, Ireland, 2019, p. 27
2. Joel, G., cited in Field, I., Letters from Alison and Iso Rae, Ivory Print, Victoria, 2011, p. 92
3. Travers, R., Hilda. The Life of Hilda Rix Nicholas, Thames and Hudson, Melbourne, 2021, p. 45
4. As related by artist Jane Quigley in ‘Picardy: A Quiet Simple Land of Dreamy Beauty Where Artists Fine Much to Paint’, The Craftsman, London, vol. XII, June 1907
5. Gray, A. and Hesson, A. (eds.), She-Oak and Sunlight: Australian Impressionism, National Gallery of Victoria, Melbourne, 2021, p. 188
 
LUCIE REEVES-SMITH
(1860 - 1940)
UNE TRICOTEUSE (A KNITTER), c.1909
oil on canvas
59.0 x 43.0 cm
signed lower right: ISO RAE 

×

Rae Iso

Reference: see Deutscher & Hackett, IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART, SYDNEY, 1.12.22, lot 23
ISO RAE
PROVENANCE
Jules de Beaumont, France, acquired directly from the artist, c.1909
Thence by descent
Private collection, France
Thence by descent
Private collection, France 
EXHIBITED
55e Exposition de la Société des Amis des Arts de Douai, Douai, France, 1909, cat. 222 
CATALOGUE TEXT
Following formal training at the National Gallery School in Melbourne alongside Frederick McCubbin, Tom Roberts and Jane Sutherland, Isobel Rae and her sister Alison travelled to Paris in 1887 with their mother, intending to further their promising artistic studies.1 Although they would encounter many visiting compatriots in the vibrant expatriate artistic colony of Étaples, a fishing port on the north-western Opal Coast of France where they settled in 1893, they were never to return to Australia. Iso Rae remained unmarried and was closely attached to her family. Her impressionist paintings depicted the humble fisherfolk of the village with compassion and respect for the local culture and customs. In 1906, fellow expatriate artist Grace Joel praised Rae’s ability to ‘paint outdoor figure subjects with rare charm and poetry.’2Une Tricoteuse (A Knitter), c.1909 is one such work – a tender portrait of a young local peasant woman knitting in the garden, lost in reverie, and bathed in brilliant sunlight.
 
In the same manner as leading impressionists back home, Iso Rae mostly worked in the open air, direct from the motif. Utilising life-drawing skills acquired at the progressive Académie Colarossi in Paris, Rae achieved some level of success in the style of genre painting, regularly sending paintings to the Old Salon, the Société Nationale des Beaux Arts, the Royal Society of British Painters and other local salons. In the summer of 1910 when her former National Gallery classmate Hilda Rix Nicholas arrived in Étaples, Iso Rae obtained a studio space for her in the garden of Monsieur and Madame Monthuys-Pannier, adjacent to one occupied by Jules Adler, a successful French genre painter known for his style of social realism as ‘the painter of the people.’3 Alder’s influence on both Rae and Rix Nicholas can be keenly felt in their humanistic portraits recording the ordinary lives of the women of Étaples while the men were out at sea. Models were apparently plentiful and would pose well for a small payment, either in the studio or in the picturesque gardens that lie hidden behind the street doors.4
 
The young knitter stands alone in a garden, absent mindedly attending to her domestic chores, perhaps while she watches over children at play. She wears a simple outfit, her hair uncovered without the traditional calipette (Breton bonnet). Using lilac tones highlighted with impasto white and pale pink pigment, the figure of the woman blends harmoniously with the immersive green hues of her background. Rae pays particular focus to light and texture, from the soft modulated greens of the moist garden to the structural deep pleats of the woman’s blouse and coarse knitting dangling from her hands. Her emphasis on the tactile qualities of both the paint and the landscape is shared with other exponents of Australian Impressionism.5 The large scale of the figure and absence of a horizon line is characteristic of Rae’s work of this period, as can be seen also in the format of Young Girl, Étaples, c.1892, in the collection of the National Gallery of Victoria. The flush of youth and private smile of this young woman hint to an inner life beyond her immediate domestic travail and creates a peaceful and intimate atmosphere with the viewer.
 
After its exhibition in a local salon in Douai in 1909, Une Tricoteuse was purchased by a well-regarded local magistrate who collected paintings from this region including others by Frits Thaulow, William Gore, and Henri Le Sidaner. Having been passed down within his family in France, this is the first time that the painting has been seen in Australia.
 
1. Finucane, P. and Stuart, C., Odd Roads To Be Walking, Red Barn Publishing, Ireland, 2019, p. 27
2. Joel, G., cited in Field, I., Letters from Alison and Iso Rae, Ivory Print, Victoria, 2011, p. 92
3. Travers, R., Hilda. The Life of Hilda Rix Nicholas, Thames and Hudson, Melbourne, 2021, p. 45
4. As related by artist Jane Quigley in ‘Picardy: A Quiet Simple Land of Dreamy Beauty Where Artists Fine Much to Paint’, The Craftsman, London, vol. XII, June 1907
5. Gray, A. and Hesson, A. (eds.), She-Oak and Sunlight: Australian Impressionism, National Gallery of Victoria, Melbourne, 2021, p. 188
 
LUCIE REEVES-SMITH
(1860 - 1940)
UNE TRICOTEUSE (A KNITTER), c.1909
oil on canvas
59.0 x 43.0 cm
signed lower right: ISO RAE 

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Smith Gray 3 refsview full entry

Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and index. ‘A luminary in the London art scene of the 1960s, Alannah Coleman was admired as a free spirit and loved by many for her creative energy and physical beauty. Born in Melbourne where she trained as an artist, she became part of a bohemian enclave that included artists and literary figures such as Arthur Boyd, Charles Bush, Alister Kershaw, Sidney Nolan, Elizabeth Paterson, Albert Tucker and Phyllis Waterhouse. In London, she sought tirelessly to promote Australian art as a gallery director and curator. In this biography, Simon Pierse reveals the fascinating and turbulent life of an influential figure in British and Australian post-war art.’
Publishing details: North Melbourne, VIC : Arden, 2022,
xvii, 364 pages : illustrations, portraits

×

Smith Gray 3 refs

Reference: see Alannah Coleman : a life in art, by Simon Pierse. Includes bibliographical references and index. ‘A luminary in the London art scene of the 1960s, Alannah Coleman was admired as a free spirit and loved by many for her creative energy and physical beauty. Born in Melbourne where she trained as an artist, she became part of a bohemian enclave that included artists and literary figures such as Arthur Boyd, Charles Bush, Alister Kershaw, Sidney Nolan, Elizabeth Paterson, Albert Tucker and Phyllis Waterhouse. In London, she sought tirelessly to promote Australian art as a gallery director and curator. In this biography, Simon Pierse reveals the fascinating and turbulent life of an influential figure in British and Australian post-war art.’

Publishing details: North Melbourne, VIC : Arden, 2022,
xvii, 364 pages : illustrations, portraits

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Streeton Arthur Evening Game 1889 with essayview full entry

Reference: see Smith & Singer catalogue 23.8.2023, Important Australian Art, lot 36, catalogue includes essay on the work, and numerous illustrations of works by Streeton in the 9 x 5 exhibition.
PROPERTY FORMERLY FROM THE COLLECTION OF PROFESSOR HENRY LAURIE AND MRS FRANCES LAURIE, MELBOURNE
ARTHUR STREETON
1867-1943
Evening Game 1889
oil on cardboard
inscribed 'EvEning Game' lower left; signed and dated 'StreEten 89' lower right
13.3 x 23.3 cm
Provenance
Arthur Streeton, Melbourne
Professor Henry Laurie and Mrs Frances Laurie, Melbourne, acquired from the above in August 1889
A Fine Collection of Australian, English and European Paintings, Decoration Co., Melbourne, 18 November 1953, lot 107, 'Looking Towards Melbourne from the Yarra, 1881'
Private Collection, Melbourne
Private Collection, Sydney, by descent from the above
Exhibited
The 9 by 5 Impression Exhibition, Buxton's Art Gallery, Melbourne, 17 August 1889, no. 145, 2 gns
Moonrise, Ballarat Fine Art Gallery, Ballarat, 30 November 1973 - 21 January 1974, no. 41 (label verso)
Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 8 December 1995 - 12 February 1996; Art Gallery of South Australia, Adelaide, 1 March - 14 April 1996; Art Gallery of Western Australia, Perth, 2 May - 16 June 1996; Queensland Art Gallery, Brisbane, 9 July - 25 August 1996; Art Gallery of New South Wales, Sydney, 11 October - 24 November 1996, no. 17, illustrated (label verso)
Australian Impressionism, National Gallery of Victoria, Melbourne, 31 March - 8 July 2007, no. 9.52, illustrated
Streeton, Art Gallery of New South Wales, Sydney, 7 November 2020 - 14 February 2021, illustrated
She-Oak and Sunlight: Australian Impressionism, The Ian Potter Centre: NGV Australia at Federation Square, 2 April - 22 August 2021
Literature
'Art and Artists', Table Talk, Melbourne, 23 August 1889, p. 4
Ann Galbally, Arthur Streeton, Lansdowne Press, Melbourne, 1969, cat. no. 31, p. 92
Geoffrey Smith, Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 1995, pp. 48, 49 (illustrated)
Terence Lane, Australian Impressionism, National Gallery of Victoria, Melbourne, 2007, pp. 178 (illustrated), 334, 351
Wayne Tunnicliffe (ed.), Streeton, Art Gallery of New South Wales, Sydney, 2021, pp. 59 (illustrated), 368
Anne Gray and Angela Hesson (eds), She-Oak and Sunlight: Australian Impressionism, National Gallery of Victoria in association with Thames & Hudson, Melbourne, 2021, p. 284
Publishing details: [essay inserted in Streeton, by Wayne Tunnicliffe. Published to coincide with the exhibition at the Art Gallery of New South Wales. ]

×

Streeton Arthur Evening Game 1889 with essay

Reference: see Smith & Singer catalogue 23.8.2023, Important Australian Art, lot 36, catalogue includes essay on the work, and numerous illustrations of works by Streeton in the 9 x 5 exhibition.
PROPERTY FORMERLY FROM THE COLLECTION OF PROFESSOR HENRY LAURIE AND MRS FRANCES LAURIE, MELBOURNE
ARTHUR STREETON
1867-1943
Evening Game 1889
oil on cardboard
inscribed 'EvEning Game' lower left; signed and dated 'StreEten 89' lower right
13.3 x 23.3 cm
Provenance
Arthur Streeton, Melbourne
Professor Henry Laurie and Mrs Frances Laurie, Melbourne, acquired from the above in August 1889
A Fine Collection of Australian, English and European Paintings, Decoration Co., Melbourne, 18 November 1953, lot 107, 'Looking Towards Melbourne from the Yarra, 1881'
Private Collection, Melbourne
Private Collection, Sydney, by descent from the above
Exhibited
The 9 by 5 Impression Exhibition, Buxton's Art Gallery, Melbourne, 17 August 1889, no. 145, 2 gns
Moonrise, Ballarat Fine Art Gallery, Ballarat, 30 November 1973 - 21 January 1974, no. 41 (label verso)
Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 8 December 1995 - 12 February 1996; Art Gallery of South Australia, Adelaide, 1 March - 14 April 1996; Art Gallery of Western Australia, Perth, 2 May - 16 June 1996; Queensland Art Gallery, Brisbane, 9 July - 25 August 1996; Art Gallery of New South Wales, Sydney, 11 October - 24 November 1996, no. 17, illustrated (label verso)
Australian Impressionism, National Gallery of Victoria, Melbourne, 31 March - 8 July 2007, no. 9.52, illustrated
Streeton, Art Gallery of New South Wales, Sydney, 7 November 2020 - 14 February 2021, illustrated
She-Oak and Sunlight: Australian Impressionism, The Ian Potter Centre: NGV Australia at Federation Square, 2 April - 22 August 2021
Literature
'Art and Artists', Table Talk, Melbourne, 23 August 1889, p. 4
Ann Galbally, Arthur Streeton, Lansdowne Press, Melbourne, 1969, cat. no. 31, p. 92
Geoffrey Smith, Arthur Streeton 1867-1943, National Gallery of Victoria, Melbourne, 1995, pp. 48, 49 (illustrated)
Terence Lane, Australian Impressionism, National Gallery of Victoria, Melbourne, 2007, pp. 178 (illustrated), 334, 351
Wayne Tunnicliffe (ed.), Streeton, Art Gallery of New South Wales, Sydney, 2021, pp. 59 (illustrated), 368
Anne Gray and Angela Hesson (eds), She-Oak and Sunlight: Australian Impressionism, National Gallery of Victoria in association with Thames & Hudson, Melbourne, 2021, p. 284

Publishing details: [essay inserted in Streeton, by Wayne Tunnicliffe. Published to coincide with the exhibition at the Art Gallery of New South Wales. ]

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Smith Bernhard portraits Lord Henry Smith & Jane Mary Voaseview full entry

Reference: See Joels auction 14.9.23, lot 2128
A PAIR OF PLASTER MEDALLIONS BY BERNARD SMITH OF LORD HENRY SMITH AND JANE MARY VOASE C.1850S 33 X 33CM (EACH FRAMED),
NB ‘Lord is a Christian name not a title
Notes by Stephen Scheding:
From https://www.wikitree.com/wiki/Voase-9
Jane Mary Voase
Born 5 Jan 1783 in Hull, Yorkshire, England
ANCESTORS
Daughter of John Voase and Judith J (Holmes) Voase
Sister of William Voase
Wife of Lord Henry Smith — married 1 Jan 1806 in St. Martin in the Fields, England
DESCENDANTS
Mother of Henry Thomas Smith RN, Jane Mary (Smith) Fewson, Alexander John Smith,William Richard Smith RN, Edward James Smith, John Peter George Smith, Bernhard William Smith, Emma Ann Smith, Fanny Voase Elizabeth (Smith) Ringrose-Voase and Maria Bate (Smith) Wise
Died 18 Dec 1845 at age 62 in East Riding Yorkshire, England
Biography
Jane Mary Voase bio
Birthdate calculated from a list of Birthdays and wedding anniversaries written by Alexander John Smith in 1844. Merilyn has it. Received £5000 from her father's will..
From: The Annual register of world events: a review of the year, Volume 48: "D. Henry Smith, esq., of Croom's-hill, Greenwich, Kent, to the eldest daughter of John Voase, esq., merchant". The same announcement is in The Gentleman's magazine volume 76 part 1..
Note from Pamela Vilac:.
Peter Fewson has sent me a copy of the monument inscriptions for High Paull (where Jane Mary Smith (nee Voase) and Henry Thomas Smith (her son) are buried) and the following comments:.
MI No.346. Jane Mary the wife of Lord Henry Smith died December XIV MDCCCXLV aged LXIII.Paull Parish Records; 1845 Dec 20 Jane Mary Smith, High Paull House, Paull. aged 63 So according to her grave she died on 14th Dec & to PR's was buried on 20th..
From her daughter Emma Ann Smith's recollections:.
My Mother had great energy as soon as we were settled in our new home, she applied herself to our education and I may safely say all we girls learnt to any purpose in life we learnt from her – she used to rise in summer always at 6, in winter as soon as it was dawn – we breakfasted at 8 o’clock, but always before breakfast I was in her room (by 7 in summer time) repeating my lessons and reading English history. My eldest sister Jane (then 17) took charge of Fanny’s lessons and Maria the youngest of us (then 2 ½) was in the nursery..
Mary (12 years old) had her lessons with Jane under our Mothers superintendence – our Father instructed his younger sons, John and Bernard in Latin and Greek etc. Edward went to old Mr. Green’s school in the village until 3 years after when aged 16 he entered the Post office. Our three eldest brothers had previously all entered the Navy and were away at sea. Our Father used to instruct us all in writing and arithmetic and sometimes French; generally the lessons were over by 12 o’clock and then we little ones used to play in the garden till 1 o’clock lunch dinner – we had each our own plot of ground and were very happy looking after it – we had a tiny little nurse maid to walk out with us and every afternoon in summer we used to be sent for pleasant rambles in the lanes or fields and in the winter for a brisk walk on the high roads..
Our Mother often taking charge of us herself – she carried on all the charge of her large family with the help of only three women servants cook, house and nurse maid and a boy who waited at table, cleaned boots etc and worked in the garden or yard at all spare hours and never was anything neglected or allowed to be in arrears. There was a pleasant society in the village – many families resided there in the same position as ourselves. My Father and Mother were invited out to the quite entertainment that were in vogue in those days and gave little sociable reunions themselves in return and our friends used to say that the evenings at our home were among the pleasantest in the village, for my Mother’s manners were bright and cheerful and perfectly easy so she always set others at their ease – she was not pretty, but had bright brown eyes and a very intelligent face; she had a noble independent spirit and determined when my Father’s difficulties came upon him to keep his family together and bring them up as nearly as possible in the station in which they had been born..
When her sister-in-law Mrs. Voase urged her to let her eldest daughter go to some family as Governess she declined her intervention and probably affronted her by rejecting her advice – Jane was the greatest comfort to our mother; she was the only one of the family at home who was old enough to understand all her troubles and anxieties and also to assist her in her care for the younger ones..
All our clothing was made at home. My Mother worked and thought for us early and late, but no display was ever made of her efforts – she had the art of carrying on the household work by her subordinates easily and regularly so that two or three may do, what sometimes double the number fell to do so well and I think no children ever had a happier home than ours and what is more I know that all the time we knew it and valued it.[1]

Will of John Voase - abstract Abstract of the will of John Voase Hull merchant To my wife Judith carriages horses and contents of the house at Anlaby, and £600.0.0, also lands at Hedon,Drypool, Pocklington, for life and then to son William. To son William property in High Street Hull. To my daughter Judith £5000.0.0. To my daughter Jane (Smith)£5000,00. I make Francis Hall merchant Hull and Thomas Jackson trustees for £15000.0.0 the interest from for my wife Judith, and £10000.00 the interest from to be divided between my daughters Jane and Judith. All residue to my son William and appoint him executor. Witnesses John Whitton junior, Edward Eggleston,and John Wright. Made 9.3.1809 Proved 17.4.1809

Sources
Merilyn
Footnotes
1. ↑ Entered by Merilyn Pedrick.
Acknowledgments
Thanks to Merilyn Pedrick for starting this profile. Click the Changes tab for the details of contributions by Merilyn and others.

From https://www.wikitree.com/wiki/Smith-54995

Lord Henry Smith
Born 16 Sep 1778 in Greenwich, Kent, England
ANCESTORS
Son of Henry Smith RN and Maria (Short) Smith
Brother of Frances Elizabeth Ann (Smith) Ince and Maria Emma (Smith) Gray
Husband of Jane Mary Voase — married 1 Jan 1806 in St. Martin in the Fields, England
DESCENDANTS
Father of Henry Thomas Smith RN, Jane Mary (Smith) Fewson, Alexander John Smith,William Richard Smith RN, Edward James Smith, John Peter George Smith, Bernhard William Smith, Emma Ann Smith, Fanny Voase Elizabeth (Smith) Ringrose-Voase and Maria Bate (Smith) Wise
Died 7 Feb 1855 at age 76 in Brixton, London, England

Lord Henry Smith bio
From his daughter Emma Ann Smith's recollections:.
He must have been very handsome as a young man. There is a portrait as an old man which your Uncle Barnard painted, hanging at home at Tranby Park and one which I lent Mary (Mrs. Arthur Wilson) that was taken when he was under six, a blue-eyed little fellow with golden curls. He had very pleasant easy manners, was very fond of a joke and of a good story which he could repeat well. He was brought up at Westminster School and had both the education and manners of a gentleman. He was fond of reading and had much general information; he had a kind heart and a hasty temper and was devoted in affection to my Mother, though as they both had hot tempers they often had hot words. My Father was very honourable and I believe he failed in business because he believed all he dealt with, were as honourable as himself. He was "fidgety" with us as children and being apt to speak sharply to us, if we chattered or came in his way, we stood in awe of him, more so perhaps than we need have done, for it was as I grew older that I learnt how much he cared for us and how self-denying he could be for our sakes. He was no man of business. When after his bankruptcy all the resources my parents had for their family of eleven children was my Mothers Jointure (some £400 a year) he would pay away the dividends at once upon the bills that would come in and leave her with no ready money to carry on the housekeeping, and he would send for Bricklayers here and Painters there, when my poor Mother was wondering how she should get her Butcher or her Baker paid, then they would have words together and the want of money was always at the bottom of their passing quarrels. He used to read well with good accent and emphasis – it was a pleasure as we sat in the evenings round the large table at our sewing to hear him read the plays of Shakespeare, many of which he had seen Kemble, Siddons and Kean perform in – he was very temperate both in eating and drinking but he used to be very angry if dinner was late or if not properly served and would say "God Almighty sends good meat, but the Devil sends cooks" He was particular about attending church at any rate once on Sundays though he hated long sermons and would take out his watch and remark aloud upon the time when he thought the preacher had exceeded his limit –shaking the seal and chain to attract his attention. The school children used to sit in the middle aisle under the pulpit as we sat in the pews at the side and if he saw one misbehaving he would threaten her with his finger, exclaiming aloud, if the mistress corrected the wrong delinquent "No no not that one it’s the other" – much in violation of our sense of decorum..
He was fond of long excursions on foot and could walk 20 or 30 miles over the country in enjoyment of the scenery – he was always in good health and was up early in the morning gardening or carpentering for which he had much taste and talent, he was fond of sketching also and in his early days was a good shot and used to go down to Kent and Oxford and Hampshire in the sporting season..
As he grew old he used to like his nap after the 5 o’clock dinner – then the lamp used to be put out after the wine and dessert were on the table – he used to nod on one side of the fire place and my Mother in her corner on the other and we young ones round it in our places talking to each other under our breath, sometimes breaking into a laugh, when our Father would expostulate for the noise we made and we hushed up again; then bye and bye the bell would be rung for the table to be cleared, the lamp re-lighted and we would settle round it for our evenings occupation. .
The first house we occupied at Cottingham was one on the Beck Bank since rebuilt, but not in appearance improved. It had a good walled garden round it with a long green lawn in front of the windows and fine Elm trees at the further and for this Father paid £30 rent yearly – we all embarked for Hull at Greenwich on the 8th or 9th August 1828, arriving on a Sunday afternoon after a rather rough passage in the steamer Prince Fredrick. .
Lord Henry Smith was the only son of Lieutenant Henry Smith. He was born on the 16th of September 1783. He had business in Russia, and then, returning to England, became a wine merchant. He is known to have failed in his business, but it is unknown whether this was over the Russian affair or not. It was probable before he because a wine merchant as, according to Thackeray, that trade and the coal trade were the usual ones for bankrupts of good position to take up. He married Jane Mary Voase in 1805, and by her had eleven children.She had some money of her own. He lived at Cotteringham, near Hull, then at High Paul, on the Humber, and then at Brixton where he died in 1855..
A list of birthdays written in 1844 by Alexander John Smith, gives Lord Henry Smith's birthdate as 1778 not 1776..
This delightful letter (actually 3 letters) were sent to Mrs. Henry Smith (nee Jane Mary Voase).
at Dr. Carr’s, Knowstrapp House, Leeds, Yorkshire. The letter is from her husband Lord Henry Smith and son Henry Thomas Smith and daughter Jane Mary Smith..
Greenwich, 29th September 1821.
My Dearest Jane,.
The children have desired to write to you, and I have indulged them, so you must be satisfied with a very short epistle from me today - but on Monday I will write you a longer one by which time I shall have been able to see Mr. Adam Young. Little darling Bernhard really walks the length of the nursery playroom without any assistance today. The children are all quite well, Aunt Gray (his sister-Maria Emma married Frances Edward Gray) has sent a goose for dinner, but as we had asked Mrs. Forman to eat Pig, the children will have it in the nursery. I have committed great slaughter amongst them, having had 5 of them killed today, the least of which weighed 8 lbs. and the biggest 9 lbs. - which at 3 weeks is pretty good growth. 3 were sold by Price, and one for my mother (Mrs. Henry Smith nee Maria Short born 11-9-1749) who will give it as a present to old Dame Gray..
Coppard has bespoken ? and we owe 4 ? and they are all disposed of. Edward leaves ? on Monday ..? not seen him since my return. Mrs. Carnaevon and Betsy Smith and Tom Biames?? have been to Mr. Atkins at Halstead. They went on Friday and returned Tuesday last. If when you see your brother (William Voase of Anlaby) you should find that Captain Watson has not bought a Shetland cow, do let me know as I must have an additional one. The one we have still gives more than 10 quarts (wine measure) and yet the children are ? allowing your two youngest sons are such hearty eaters, and as to Buttin ?cook cannot save more milk for cream than for one churning a week, so we must find another or go without. As Blackheath Fair will be the 11th, there will be time for me after you have seen William. Pray remember us all very kindly to Dr. and Mrs. Carr and Miss Allison and I believe Mr. Gray..
Most affectionately yours and yours only.
Lord Henry Smith.
Ps.: Dearest Jane.
I suppose you will not feel satisfied that I am well unless you have the assurance under my own hand, and therefore I do beg you to know that I am quite well..
Flint House.
Greenwich.
29 September 1821.
Dear Mamma,.
I was glad to learn that you had a pleasant journey down. How do you like Leeds? When do you leave Mrs. Carr? I went with Papa and Cousin John to Ramsgate and to Mr. Wykeharms at Leeds Castle. Bernhard can walk alone. Give my love to Aunt and Uncle and to Sophia when you see them. My brothers and sisters send their love to you, Alexander and all of us our love to Doctor and Mrs. Carr and Miss Allison. My fingernails are quite long now. I am dear Mamma,.
Your affectionate and dutiful son.
Henry Thomas Smith.
My Dear Mamma,.
I hope you are quite well. The King (George IV) went across the Heath on Monday. You would like to see Bernhard walk by himself. I have seen him this morning. Today is Edward’s birthday (6 years old). Mrs. Forman, Jane and Edward are to dine with us today, as also Mrs. Edna Smith for the last time. Mr. Carnaevon has been almost every day and sends his love to you, and his respects to Dr. and Mrs. Carr. Pray give my love to Miss Allison..
I am, very dear Mamma.
Your affectionate and dutiful daughter.
Jane Mary Smith[15]
Henry was born about 1760. Henry Smith ... [16]
Sources
1. ↑ "England Marriages, 1538–1973 ," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NXZF-GMV : 10 February 2018), Lord Henry Smith and Jane Mary Voase, 31 Dec 1805; citing Parish Church Of Holy Trinity In Glale, York, England, reference , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 1,470,314.
2. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JM7B-96Y : 11 February 2018, Laud Henry Smith in entry for Henry Thos. Smith, 03 May 1810); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
3. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:J3MF-6V7 : 11 February 2018, Henry Smith in entry for Jane Mary Smith, 24 Jul 1811); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
4. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NL24-V74 : 11 February 2018, Henry Smith in entry for Alexander John Smith, 20 Dec 1812); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
5. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JM7B-3JY : 11 February 2018, Henry Smith in entry for William Richard Smith, 06 Jun 1814); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
6. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JM7B-MSQ : 11 February 2018, Henry Smith in entry for Edward James Smith, 26 Oct 1815); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
7. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NLY5-9SS : 11 February 2018, Henry Smith in entry for Mary Elizabeth Smith, 16 May 1817); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
8. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NLY5-P5L : 11 February 2018, Henry Smith in entry for John Peter George Smith, 16 Oct 1818); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
9. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JWWC-6YK : 11 February 2018, Henry Smith in entry for Barnhard Smith, 20 Nov 1820); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
10. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NYJX-NY9 : 11 February 2018, Henry Smith in entry for Emma Ann Smith, 02 Sep 1822); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
11. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:J396-2XD : 11 February 2018, Henry Smith in entry for Fanny Voase Elizabeth Smith, 09 May 1824); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
12. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NLY5-9NR : 11 February 2018, Henry Smith in entry for Maria Bate Smith, 29 Jan 1826); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
13. ↑ "England and Wales Death Registration Index 1837-2007," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:2N2S-14L : 31 December 2014), Lord Henry Smith, 1855; from "England & Wales Deaths, 1837-2006," database, findmypast (http://www.findmypast.com : 2012); citing Death, Lambeth, London, England, General Register Office, Southport, England.
14. ↑ Kentish Mercury 17 February 1855, pg 5, Greenwich https://search.findmypast.co.uk/bna/viewarticle?id=bl%2f0000937%2f18550217%2f037
15. ↑ Entered by Merilyn Pedrick.
16. ↑ A source for this information is needed.
See also:
• "England Marriages, 1538–1973", database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NXZF-GMV : 13 March 2020), Lord Henry Smith, 1805.
• "England, Surrey Parish Registers, 1536-1992," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:QGZ5-Z8DT : 19 April 2018), Lord Henry Smith, 13 Feb 1855; citing Burial, , London Metropolitan Archives, England; FHL microfilm 1,519,179.
• "England Deaths and Burials, 1538-1991", database, FamilySearch (https://familysearch.org/ark:/61903/1:1:C6H3-TWN2 : 26 May 2022), Lord Henry Smith, 1855.

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Smith Bernhard portraits Lord Henry Smith & Jane Mary Voase

Reference: See Joels auction 14.9.23, lot 2128
A PAIR OF PLASTER MEDALLIONS BY BERNARD SMITH OF LORD HENRY SMITH AND JANE MARY VOASE C.1850S 33 X 33CM (EACH FRAMED),
NB ‘Lord is a Christian name not a title
Notes by Stephen Scheding:
From https://www.wikitree.com/wiki/Voase-9
Jane Mary Voase
Born 5 Jan 1783 in Hull, Yorkshire, England
ANCESTORS
Daughter of John Voase and Judith J (Holmes) Voase
Sister of William Voase
Wife of Lord Henry Smith — married 1 Jan 1806 in St. Martin in the Fields, England
DESCENDANTS
Mother of Henry Thomas Smith RN, Jane Mary (Smith) Fewson, Alexander John Smith,William Richard Smith RN, Edward James Smith, John Peter George Smith, Bernhard William Smith, Emma Ann Smith, Fanny Voase Elizabeth (Smith) Ringrose-Voase and Maria Bate (Smith) Wise
Died 18 Dec 1845 at age 62 in East Riding Yorkshire, England
Biography
Jane Mary Voase bio
Birthdate calculated from a list of Birthdays and wedding anniversaries written by Alexander John Smith in 1844. Merilyn has it. Received £5000 from her father's will..
From: The Annual register of world events: a review of the year, Volume 48: "D. Henry Smith, esq., of Croom's-hill, Greenwich, Kent, to the eldest daughter of John Voase, esq., merchant". The same announcement is in The Gentleman's magazine volume 76 part 1..
Note from Pamela Vilac:.
Peter Fewson has sent me a copy of the monument inscriptions for High Paull (where Jane Mary Smith (nee Voase) and Henry Thomas Smith (her son) are buried) and the following comments:.
MI No.346. Jane Mary the wife of Lord Henry Smith died December XIV MDCCCXLV aged LXIII.Paull Parish Records; 1845 Dec 20 Jane Mary Smith, High Paull House, Paull. aged 63 So according to her grave she died on 14th Dec & to PR's was buried on 20th..
From her daughter Emma Ann Smith's recollections:.
My Mother had great energy as soon as we were settled in our new home, she applied herself to our education and I may safely say all we girls learnt to any purpose in life we learnt from her – she used to rise in summer always at 6, in winter as soon as it was dawn – we breakfasted at 8 o’clock, but always before breakfast I was in her room (by 7 in summer time) repeating my lessons and reading English history. My eldest sister Jane (then 17) took charge of Fanny’s lessons and Maria the youngest of us (then 2 ½) was in the nursery..
Mary (12 years old) had her lessons with Jane under our Mothers superintendence – our Father instructed his younger sons, John and Bernard in Latin and Greek etc. Edward went to old Mr. Green’s school in the village until 3 years after when aged 16 he entered the Post office. Our three eldest brothers had previously all entered the Navy and were away at sea. Our Father used to instruct us all in writing and arithmetic and sometimes French; generally the lessons were over by 12 o’clock and then we little ones used to play in the garden till 1 o’clock lunch dinner – we had each our own plot of ground and were very happy looking after it – we had a tiny little nurse maid to walk out with us and every afternoon in summer we used to be sent for pleasant rambles in the lanes or fields and in the winter for a brisk walk on the high roads..
Our Mother often taking charge of us herself – she carried on all the charge of her large family with the help of only three women servants cook, house and nurse maid and a boy who waited at table, cleaned boots etc and worked in the garden or yard at all spare hours and never was anything neglected or allowed to be in arrears. There was a pleasant society in the village – many families resided there in the same position as ourselves. My Father and Mother were invited out to the quite entertainment that were in vogue in those days and gave little sociable reunions themselves in return and our friends used to say that the evenings at our home were among the pleasantest in the village, for my Mother’s manners were bright and cheerful and perfectly easy so she always set others at their ease – she was not pretty, but had bright brown eyes and a very intelligent face; she had a noble independent spirit and determined when my Father’s difficulties came upon him to keep his family together and bring them up as nearly as possible in the station in which they had been born..
When her sister-in-law Mrs. Voase urged her to let her eldest daughter go to some family as Governess she declined her intervention and probably affronted her by rejecting her advice – Jane was the greatest comfort to our mother; she was the only one of the family at home who was old enough to understand all her troubles and anxieties and also to assist her in her care for the younger ones..
All our clothing was made at home. My Mother worked and thought for us early and late, but no display was ever made of her efforts – she had the art of carrying on the household work by her subordinates easily and regularly so that two or three may do, what sometimes double the number fell to do so well and I think no children ever had a happier home than ours and what is more I know that all the time we knew it and valued it.[1]

Will of John Voase - abstract Abstract of the will of John Voase Hull merchant To my wife Judith carriages horses and contents of the house at Anlaby, and £600.0.0, also lands at Hedon,Drypool, Pocklington, for life and then to son William. To son William property in High Street Hull. To my daughter Judith £5000.0.0. To my daughter Jane (Smith)£5000,00. I make Francis Hall merchant Hull and Thomas Jackson trustees for £15000.0.0 the interest from for my wife Judith, and £10000.00 the interest from to be divided between my daughters Jane and Judith. All residue to my son William and appoint him executor. Witnesses John Whitton junior, Edward Eggleston,and John Wright. Made 9.3.1809 Proved 17.4.1809

Sources
Merilyn
Footnotes
1. ↑ Entered by Merilyn Pedrick.
Acknowledgments
Thanks to Merilyn Pedrick for starting this profile. Click the Changes tab for the details of contributions by Merilyn and others.

From https://www.wikitree.com/wiki/Smith-54995

Lord Henry Smith
Born 16 Sep 1778 in Greenwich, Kent, England
ANCESTORS
Son of Henry Smith RN and Maria (Short) Smith
Brother of Frances Elizabeth Ann (Smith) Ince and Maria Emma (Smith) Gray
Husband of Jane Mary Voase — married 1 Jan 1806 in St. Martin in the Fields, England
DESCENDANTS
Father of Henry Thomas Smith RN, Jane Mary (Smith) Fewson, Alexander John Smith,William Richard Smith RN, Edward James Smith, John Peter George Smith, Bernhard William Smith, Emma Ann Smith, Fanny Voase Elizabeth (Smith) Ringrose-Voase and Maria Bate (Smith) Wise
Died 7 Feb 1855 at age 76 in Brixton, London, England

Lord Henry Smith bio
From his daughter Emma Ann Smith's recollections:.
He must have been very handsome as a young man. There is a portrait as an old man which your Uncle Barnard painted, hanging at home at Tranby Park and one which I lent Mary (Mrs. Arthur Wilson) that was taken when he was under six, a blue-eyed little fellow with golden curls. He had very pleasant easy manners, was very fond of a joke and of a good story which he could repeat well. He was brought up at Westminster School and had both the education and manners of a gentleman. He was fond of reading and had much general information; he had a kind heart and a hasty temper and was devoted in affection to my Mother, though as they both had hot tempers they often had hot words. My Father was very honourable and I believe he failed in business because he believed all he dealt with, were as honourable as himself. He was "fidgety" with us as children and being apt to speak sharply to us, if we chattered or came in his way, we stood in awe of him, more so perhaps than we need have done, for it was as I grew older that I learnt how much he cared for us and how self-denying he could be for our sakes. He was no man of business. When after his bankruptcy all the resources my parents had for their family of eleven children was my Mothers Jointure (some £400 a year) he would pay away the dividends at once upon the bills that would come in and leave her with no ready money to carry on the housekeeping, and he would send for Bricklayers here and Painters there, when my poor Mother was wondering how she should get her Butcher or her Baker paid, then they would have words together and the want of money was always at the bottom of their passing quarrels. He used to read well with good accent and emphasis – it was a pleasure as we sat in the evenings round the large table at our sewing to hear him read the plays of Shakespeare, many of which he had seen Kemble, Siddons and Kean perform in – he was very temperate both in eating and drinking but he used to be very angry if dinner was late or if not properly served and would say "God Almighty sends good meat, but the Devil sends cooks" He was particular about attending church at any rate once on Sundays though he hated long sermons and would take out his watch and remark aloud upon the time when he thought the preacher had exceeded his limit –shaking the seal and chain to attract his attention. The school children used to sit in the middle aisle under the pulpit as we sat in the pews at the side and if he saw one misbehaving he would threaten her with his finger, exclaiming aloud, if the mistress corrected the wrong delinquent "No no not that one it’s the other" – much in violation of our sense of decorum..
He was fond of long excursions on foot and could walk 20 or 30 miles over the country in enjoyment of the scenery – he was always in good health and was up early in the morning gardening or carpentering for which he had much taste and talent, he was fond of sketching also and in his early days was a good shot and used to go down to Kent and Oxford and Hampshire in the sporting season..
As he grew old he used to like his nap after the 5 o’clock dinner – then the lamp used to be put out after the wine and dessert were on the table – he used to nod on one side of the fire place and my Mother in her corner on the other and we young ones round it in our places talking to each other under our breath, sometimes breaking into a laugh, when our Father would expostulate for the noise we made and we hushed up again; then bye and bye the bell would be rung for the table to be cleared, the lamp re-lighted and we would settle round it for our evenings occupation. .
The first house we occupied at Cottingham was one on the Beck Bank since rebuilt, but not in appearance improved. It had a good walled garden round it with a long green lawn in front of the windows and fine Elm trees at the further and for this Father paid £30 rent yearly – we all embarked for Hull at Greenwich on the 8th or 9th August 1828, arriving on a Sunday afternoon after a rather rough passage in the steamer Prince Fredrick. .
Lord Henry Smith was the only son of Lieutenant Henry Smith. He was born on the 16th of September 1783. He had business in Russia, and then, returning to England, became a wine merchant. He is known to have failed in his business, but it is unknown whether this was over the Russian affair or not. It was probable before he because a wine merchant as, according to Thackeray, that trade and the coal trade were the usual ones for bankrupts of good position to take up. He married Jane Mary Voase in 1805, and by her had eleven children.She had some money of her own. He lived at Cotteringham, near Hull, then at High Paul, on the Humber, and then at Brixton where he died in 1855..
A list of birthdays written in 1844 by Alexander John Smith, gives Lord Henry Smith's birthdate as 1778 not 1776..
This delightful letter (actually 3 letters) were sent to Mrs. Henry Smith (nee Jane Mary Voase).
at Dr. Carr’s, Knowstrapp House, Leeds, Yorkshire. The letter is from her husband Lord Henry Smith and son Henry Thomas Smith and daughter Jane Mary Smith..
Greenwich, 29th September 1821.
My Dearest Jane,.
The children have desired to write to you, and I have indulged them, so you must be satisfied with a very short epistle from me today - but on Monday I will write you a longer one by which time I shall have been able to see Mr. Adam Young. Little darling Bernhard really walks the length of the nursery playroom without any assistance today. The children are all quite well, Aunt Gray (his sister-Maria Emma married Frances Edward Gray) has sent a goose for dinner, but as we had asked Mrs. Forman to eat Pig, the children will have it in the nursery. I have committed great slaughter amongst them, having had 5 of them killed today, the least of which weighed 8 lbs. and the biggest 9 lbs. - which at 3 weeks is pretty good growth. 3 were sold by Price, and one for my mother (Mrs. Henry Smith nee Maria Short born 11-9-1749) who will give it as a present to old Dame Gray..
Coppard has bespoken ? and we owe 4 ? and they are all disposed of. Edward leaves ? on Monday ..? not seen him since my return. Mrs. Carnaevon and Betsy Smith and Tom Biames?? have been to Mr. Atkins at Halstead. They went on Friday and returned Tuesday last. If when you see your brother (William Voase of Anlaby) you should find that Captain Watson has not bought a Shetland cow, do let me know as I must have an additional one. The one we have still gives more than 10 quarts (wine measure) and yet the children are ? allowing your two youngest sons are such hearty eaters, and as to Buttin ?cook cannot save more milk for cream than for one churning a week, so we must find another or go without. As Blackheath Fair will be the 11th, there will be time for me after you have seen William. Pray remember us all very kindly to Dr. and Mrs. Carr and Miss Allison and I believe Mr. Gray..
Most affectionately yours and yours only.
Lord Henry Smith.
Ps.: Dearest Jane.
I suppose you will not feel satisfied that I am well unless you have the assurance under my own hand, and therefore I do beg you to know that I am quite well..
Flint House.
Greenwich.
29 September 1821.
Dear Mamma,.
I was glad to learn that you had a pleasant journey down. How do you like Leeds? When do you leave Mrs. Carr? I went with Papa and Cousin John to Ramsgate and to Mr. Wykeharms at Leeds Castle. Bernhard can walk alone. Give my love to Aunt and Uncle and to Sophia when you see them. My brothers and sisters send their love to you, Alexander and all of us our love to Doctor and Mrs. Carr and Miss Allison. My fingernails are quite long now. I am dear Mamma,.
Your affectionate and dutiful son.
Henry Thomas Smith.
My Dear Mamma,.
I hope you are quite well. The King (George IV) went across the Heath on Monday. You would like to see Bernhard walk by himself. I have seen him this morning. Today is Edward’s birthday (6 years old). Mrs. Forman, Jane and Edward are to dine with us today, as also Mrs. Edna Smith for the last time. Mr. Carnaevon has been almost every day and sends his love to you, and his respects to Dr. and Mrs. Carr. Pray give my love to Miss Allison..
I am, very dear Mamma.
Your affectionate and dutiful daughter.
Jane Mary Smith[15]
Henry was born about 1760. Henry Smith ... [16]
Sources
1. ↑ "England Marriages, 1538–1973 ," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NXZF-GMV : 10 February 2018), Lord Henry Smith and Jane Mary Voase, 31 Dec 1805; citing Parish Church Of Holy Trinity In Glale, York, England, reference , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 1,470,314.
2. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JM7B-96Y : 11 February 2018, Laud Henry Smith in entry for Henry Thos. Smith, 03 May 1810); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
3. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:J3MF-6V7 : 11 February 2018, Henry Smith in entry for Jane Mary Smith, 24 Jul 1811); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
4. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NL24-V74 : 11 February 2018, Henry Smith in entry for Alexander John Smith, 20 Dec 1812); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
5. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JM7B-3JY : 11 February 2018, Henry Smith in entry for William Richard Smith, 06 Jun 1814); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
6. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JM7B-MSQ : 11 February 2018, Henry Smith in entry for Edward James Smith, 26 Oct 1815); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,589, 254,590, 363,062.
7. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NLY5-9SS : 11 February 2018, Henry Smith in entry for Mary Elizabeth Smith, 16 May 1817); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
8. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NLY5-P5L : 11 February 2018, Henry Smith in entry for John Peter George Smith, 16 Oct 1818); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
9. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:JWWC-6YK : 11 February 2018, Henry Smith in entry for Barnhard Smith, 20 Nov 1820); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
10. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NYJX-NY9 : 11 February 2018, Henry Smith in entry for Emma Ann Smith, 02 Sep 1822); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
11. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:J396-2XD : 11 February 2018, Henry Smith in entry for Fanny Voase Elizabeth Smith, 09 May 1824); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
12. ↑ "England Births and Christenings, 1538-1975," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NLY5-9NR : 11 February 2018, Henry Smith in entry for Maria Bate Smith, 29 Jan 1826); citing , index based upon data collected by the Genealogical Society of Utah, Salt Lake City; FHL microfilm 254,590, 254,591, 254,592.
13. ↑ "England and Wales Death Registration Index 1837-2007," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:2N2S-14L : 31 December 2014), Lord Henry Smith, 1855; from "England & Wales Deaths, 1837-2006," database, findmypast (http://www.findmypast.com : 2012); citing Death, Lambeth, London, England, General Register Office, Southport, England.
14. ↑ Kentish Mercury 17 February 1855, pg 5, Greenwich https://search.findmypast.co.uk/bna/viewarticle?id=bl%2f0000937%2f18550217%2f037
15. ↑ Entered by Merilyn Pedrick.
16. ↑ A source for this information is needed.
See also:
• "England Marriages, 1538–1973", database, FamilySearch (https://familysearch.org/ark:/61903/1:1:NXZF-GMV : 13 March 2020), Lord Henry Smith, 1805.
• "England, Surrey Parish Registers, 1536-1992," database, FamilySearch (https://familysearch.org/ark:/61903/1:1:QGZ5-Z8DT : 19 April 2018), Lord Henry Smith, 13 Feb 1855; citing Burial, , London Metropolitan Archives, England; FHL microfilm 1,519,179.
• "England Deaths and Burials, 1538-1991", database, FamilySearch (https://familysearch.org/ark:/61903/1:1:C6H3-TWN2 : 26 May 2022), Lord Henry Smith, 1855.

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Law Benjaminview full entry

Reference: see Sotheby's Melbourne, AustraliaAugust 24, 2009
, lot 5: Benjamin Law , English 1807-1890 WOUREDDY, AN ABORIGINAL CHIEF OF VAN DIEMEN'S LAND AND TRUCANINNY, WIFE OF WOUREDDY Patinated plaster
Est: $500,000 AUD - $700,000 AUD
Sotheby's Melbourne, AustraliaAugust 24, 2009
View lot details
Item Overview
Description
Incised with WOUREDDY/ AN/ ABORIGINAL CHIEF/ OF V. D. L/ B. LAW. SCULP./ HOBART TOWN (on reverse); incised with TRUCANINNY/ WIFE OF WOURADDY/ B. LAW. SCULP./ HOBART TOWN/ A.D. 1836. (on reverse) Patinated plaster
Dimensions
woureddy height: 78cm; trucaninny height: 70cm 
Artist or Maker

Benjamin Law

Exhibited
Art and natural history exhibition, Argyle Rooms, Hobart, 7 August - 18 September 1837
Launceston Mechanics' Institute Exhibition, Mechanics' Institute, Launceston, April 1860, cat. 188 (lent by Henry Dowling) (another cast)
The International Exhibition of 1862, South Kensington, 1 May - 1 November 1862, cats. 550 and 649 (lent by J. A. Youl) (another cast)
Intercolonial Exhibition, Melbourne, 1866, cat. 719 (lent by Henry Dowling) (another cast)
Tasmanian vision: the art of nineteenth century Tasmania: paintings, drawings and sculpture from European exploration and settlement to 1900, Tasmanian Museum & Art Gallery, Hobart, 1 January - 21 February 1988; Queen Victoria Museum & Art Gallery, Launceston, 16 March - 1 May 1988, cat. 76L Woureddy & 77L Tuganini (another pair)
Creating Australia: 200 years of art 1788-1988, Queensland Art Gallery, Brisbane, 17 May - 17 July 1988; Art Gallery of Western Australia, Perth, 12 August - 25 September 1988; Art Gallery of New South Wales, Sydney, 21 October - 27 November 1988; Tasmanian Museum & Art Gallery, Hobart, 21 December 1988 - 5 February 1989; National Gallery of Victoria, Melbourne, 1 March - 30 April 1989; Art Gallery of South Australia, Adelaide, 23 May - 16 July 1989 (another pair)
Viewing the Invisible: An installation by Fred Wilson, Ian Potter Museum of Art, University of Melbourne, 7 October - 6 December 1998 (another pair)
Presence and absence: portrait sculpture in Australia, National Portrait Gallery, Canberra, 22 August - 16 November 2003, cats. 45 and 46 (another pair)
On loan to the Tasmanian Museum and Art Gallery (1983)
On loan to National Portrait Gallery, Canberra (2009)

Literature
Catalogue of works of art, exhibited in the Launceston Mechanics' institute Building, on the occasion of its opening, April 9, 1860, Launceston: Charles Wilson, 1860, p. 10 (another pair)
Country Life (U.K.): 21 August 1980 (illus., another pair); 1 January 1981
Critic (Hobart), 4 April 1924
Hobart Town Courier: 27 March 1835 ; 3 April 1835 ; 11 September 1835; 7 October 1836; 18 August 1837
Illustrated Melbourne Post, 24 January 1867, p. XXX (ill.)
Intercolonial Exhibition 1866 : official catalogue (2nd ed.), Melbourne : The Commissioners, 1866 p. 84
Intercolonial Exhibition 1866, official catalogue and related papers, MS12392, box 3194/5, State library of Victoria
Iris (Sheffield, U.K.), 11 December 1838
'Tasmanian art "on loan" to Australia', Mercury, 25 March 1981
Morning Star, 7 July 1835
Ross's Hobart Town Almanack and Van Diemen's Land Annual for 1836
True Colonist, 14 October 1836
Voyage au Pôle Sud et dans l'Océanie: sur les corvettes l'Astrolabe et la Zelée, executée ... pendant les années 1837-1838-1839-1840, sous le commandement de M.J. Dumont D'Urville, publié par ordonnance de sa Majesté sous la direction supérieure de M. Jaquinot, Paris: Gide, 1841-1855, vol. Anthropologie (Atlas), illus. plate 23 (lithograph by Leveillé after photographs by Bisson)
Christopher Allen, Art in Australia: from colonization to postmodernism, London: Thames and Hudson, 1997, p. 36, illus. p. 35 (Truganini, another cast)
Christopher Allen, 'Put in their place', Australian, 20 December 2008
James Backhouse, Journal No. 13, 23 August 1837, p. 30 
Tim Bonyhady, 'Aboriginal celebrities', in Daniel Thomas (ed.), Creating Australia: 200 years of art 1788-1988, Adelaide: International Cultural corporation of Australia/Art Gallery Board of South Australia, 1988, pp. 92-93, illus. p. 93 (another pair)
Tim Bonyhady, 'The politics of colonial sculpture', Art and Australia, vol. 28 no. 1, Spring 1990, p. 103, illus. (Truganini, another cast
Barbara Campbell, Trukanini [sic] in extenso: sculpture, performance, installation Studio, Master of Visual Arts thesis, University of Sydney, 1998
Deborah Edwards, Presence and absence: portrait sculpture in Australia, Canberra: National Portrait Gallery, pp. 24-29, 82, illus. pp. 26,27 (another pair)
Penelope Edmonds, '"We think that this subject of the native races should be thoroughly gone into at the forthcoming exhibition": the 1866-67 Intercolonial Exhibition', in Kate Darian-Smith, Richard Gillespie, Caroline Jordan and Elizabeth Willis (eds), Seize the day: exhibitions, Australia and the world, Monash university Press, 2008, pp. 04.11 (illus.), 04.14
Margaret Glover, 'Benjamin Law 1807-90', Art Bulletin of Tasmania, 1985, pp. 34-39, illus. p. 34 (Truganini), p. 37 (Woureddy, another cast)
Jane, Lady Franklin, Diary, March 1837, Archives Office of Tasmania (NS279)
Terry Ingram, 'Cravat stirs "mutiny" at London art sale', Financial Review, 8 November 1979, illus. (Truganini, another cast)
Hendrik & Julianna Kolenberg, Tasmanian vision: the art of nineteenth century Tasmania: paintings, drawings and sculpture from European exploration and settlement to 1900, Hobart: Tasmanian Museum & Art Gallery, pp. 69 (illus. Truganini, another cast), 70, 103
T.J. Lempriere, Diary, 25 May 1837, Mitchell Library, State Library of New South Wales, (MLMSS A577)
John Lhotsky, 'Australia, in its historical evolution', The Art Union, July 1839, pp. 99-100
Mary Mackay, 'Early Tasmanian sculptures. A reassessment', Bowyang, no. 5, April-May 1981, pp. 6-12, illus. cover (Woureddy, another cast), p. 8 (Truganini, another cast)
John McDonald, Art of Australia (Vol. 1: Exploration to Federation), Sydney: Pan Macmillan, 2008, p. 82, illus. p. 83 (another pair)
John McPhee, Australian art in the collection of the Australian National Gallery, Canberra: Australian National Gallery, 1988, p. 8 (illus., another pair)
James Mollison & Laura Murray (eds), Australian National Gallery: an introduction, Canberra: Australian National Gallery, 1982, p. 205, illus. p. 204 (Truganini, another cast)
William Moore, The story of Australian art (2 vols.), Sydney: Angus & Robertson, 1934, vol. II, p. 73
Paul Paffen & Margaret Glover, 'The Hannah and Benjamin Law letters', Tasmanian Historical Research Association Papers and Proceedings, vol. 45 no. 3, September 1998, pp. 164-85
Andrew Sayers, Australian art, London: Oxford University Press, 2001, pp. 29, 43, 66-67
Ken Scarlett, Australian Sculptors, Melbourne: Thomas Nelson, 1980, p. 365, illus. (Truganini, another cast)
Stephen Scheding, The National Picture, Sydney: Vintage, 2002, p. 113
Bernard Smith, The spectre of Truganini, Sydney: Australian Broadcasting Commission, 1980, cover illus (Truganini, another cast)
Graeme Sturgeon, The development of Australian sculpture, 1788-1975, London: Thames & Hudson, 1978, pp. 18-19, illus. p. 18 (other casts)
Donald Williams, In our own image: the story of Australian art (3rd ed.), Sydney: McGraw-Hill, 1995, p. 30, illus. (Truganini, another cast)
Provenance
Judah Solomon, Hobart Town; thence by descent through the Solomon and Benjamin families
Private collection, New South Wales
Notes
Executed in 1835 (Woureddy) and 1836 (Trucaninny)
PROPERTY OF VARIOUS VENDORS
TOGETHER WITH

two cedar pedestals, Australia, early 19th century, each a circular tray top with moulded rim above a turned column on circular ring foot and square base

Both approximately 103.5cm high including attached blocks, tops 32.5cm and 29cm diameter respectively 

In the Hobart Town Courier of 7 October 1836, amongst advertisements for J.W. Davis's stock of flutes, guitars, bird organs, musical snuff boxes and pianos, for the stallions 'Duncan Gray' and 'Tom Thumb' being offered at stud and for numerous parcels of Vandiemonian real estate, there appeared a small announcement:

TRUCANINNY
B. Law begs to inform the subscribers to his busts of the Aborigines of this Colony, that he has now completed his model of the female, Trucaninny, and has several duplicates ready for delivery, either in Bronze or colour. No. 76, Murray street. Likenesses moddled and busts executed in marble, bass-relief, etc.

Truganini was the second of two portrait busts of the Nuenonne (Bruny Island) Aborigines Woureddy and Truganini. Both sitters were well-known in the colony as members of George Augustus Robinson's 'Friendly Mission' to conciliate the few remaining 'wild' natives of the Big River and Oyster Bay tribes. Probably initially commissioned by Robinson himself, they were the work of Benjamin Law, a fellow Wesleyan, recent immigrant and settler Australia's first professional sculptor. Law's busts were offered by public subscription at four guineas apiece, a relatively high price, and certainly well above the 30 shillings being asked by Benjamin Duterrau for his somewhat coarser and rather more modest plaster reliefs.υ1

The superior quality of Law's portrait busts was immediately apparent to all who saw them. Of the first it is reported that Woureddy himself was 'highly pleased with the model'υ2, while the Courier declared it 'a beautiful cast' and 'most happily executed.'υ3 Law's wife Hannah wrote to a relative in September 1835 that 'Casts ... are called for not only in all Quarters of the Colony, but are being sent to India, to Sweeden [sic], to England, Scotland, and one went last week to Cambridge Colledge [sic], the Gift of the rural Dean of this Land the Governor [Lt-Gov. George Arthur] has purchased one and ordered a second he is sending one to the Home Secretary, the Attorney General etc., and indeed all the great people...'υ4 Several years later, when the companion portrait of Truganini had been completed, the True Colonist reported that 'scientific gentlemen' had described the pair as 'works of very great merit'υ5, while even the hard-to-please John Lhotsky described them as 'perfect likenesses ... altogether a respectable work.'υ6

The verisimilitude of the sculptures is well-illustrated by the response of Dumont d'Urville's Pacific research expedition of 1837-1840. The scientists' conventional practice was for their naturalist and phrenologist, Dr Pierre Dumoutier, to take life casts of heads of the various ethnic types encountered en route, but on visiting Hobart Town in December 1839 they were happy to acquire a set of the Law plasters, and indeed to reproduce them in the official account of the voyage. This decision may, however, have been based on practical as much as aesthetic considerations; by 1839-1840, when the Astrolabe and the Zelée visited Hobart Town, most of the surviving Palawa (Tasmanian Aborigines) were in protective custody on Flinders Island, while Robinson's 'friendly natives' (amongst them Woureddy and Truganini) had joined him in the Port Phillip District.υ7 

Indeed, the tragedy of the Tasmanian ethnocide during the 1830s and 1840s meant that Law's sculptures came to be regarded as of greater scientific than artistic interest, and the majority of casts surviving in public collections were originally acquired as ethnographic artefacts.υ8 Furthermore, despite Woureddy being applauded by the great chronicler of Australian art William Moore as 'a striking work boldly and effectively rendered'υ9, Law and his sculptures languished in the common neglect of colonial art through most of the 20th century.

However, with the publication of Mary Mackay's pioneering research in 1981, with the Australian National Gallery's acquisition of a set of the sculptures in the same year and with the works' inclusion in the Australian Bicentennial Authority touring show The Great Australian Art Exhibition, 'by the end of the 1980s Trucanini [sic] and Woureddy were on course to becoming the iconic colonial sculptures.'υ10 They are now respected as much for their intrinsic artistic quality as for their ethno-historical significance, with Christopher Allen describing them as 'among the few nineteenth century Australian sculptures worthy of serious consideration as art.'υ11 

The striking, almost intimate naturalismυ12 of the two portraits can obscure their underlying artifice. Although he described himself for purposes of immigration as an 'agriculturalist', and while his profession was to be stunted by the economic and cultural realities of colonial Van Diemen's Land, Benjamin Law was in fact a skilled and experienced artist, scion of a distinguished Sheffield artisan family.υ13 Despite their exotic subject matter and their precise ethnographic details (skin cloaks, Woureddy's kangaroo-sinew necklaces and ochre-dreadlocked hair, and Truganini's strands of marineer shells), the two busts are entirely consistent with the aesthetic of Law's training, that of late 18th and early 19th century neoclassicism,υ14 from their static, frontal orientation and associated clarity of contour to the conventional 'slicing' of the upper arms and the restrained, neo-Attic socles. Paradoxically, however, Law is here able to avoid the perennial problem of the neo-classical portraitist: the issue of 'decorum', the question of whether to show the sitter in modern or antique dress. Woureddy and Truganini's kangaroo-skin wraps are both contemporary and ancient-historical, with the further advantage of suggesting the Greek chlamys or Roman toga.

When considered in this framework, it is possible to read Law's sculptures as consciously idealising, showing Woureddy as (in Mary Mackay's memorable words) 'hunter, warrior and man-in-command, a Greek hero in kangaroo skin',υ15 and Truganini, the ultimate victim of the European invasion, the so-called 'Last Tasmanian', as an archetypal mourning figure: Electra grieving for her father, or Niobe for her children. Ultimately it is this curious colonial hybridity, this mélange of artistic intentions and languages that gives the present works their great distinction. As Deborah Edwards has written: 'Law's mastery lay in the creation of works which were (and are) simultaneously ethnographically shaped objects, intended mementos of a "doomed race", and exceptional portraits.'υ16

The busts additionally notable for being accompanied by a pair of elegant colonial turned cedar columns, their original supports from 'Temple House', Hobart. A handsome two-storey Georgian townhouse which still stands on the corner of Argyle and Liverpool Streets. 'Temple House' was built by Judah Solomon and his brother, Joseph, in the late 1820s and remained in the hands of their descendants until 1921, with the busts standing on these pedestals in the hallway. This provenance is highly suggestive; not only is 'Temple House' only two blocks from George Augustus Robinson's residence in Elizabeth Street (where Woureddy and Truganini were living or visiting at the time the portraits were taken), but the purchase might also signal a particular sympathy on the part of the doubly-exiled Jewish convict Judah Solomon for the displaced original Tasmanians.

We are most grateful to John McPhee for his assistance in cataloguing this work

1. In the Hobart Town Courier of 5 August 1836, Duterrau offered for sale 13 plaster bas-reliefs of Robinson and his 'friendly natives'. Casts of most of this group are preserved in the collection of the Tasmanian Museum & Art Gallery.
2. George Augustus Robinson, letter to Thomas Northover, in papers of George Augustus Robinson, vol. 23, letter Book 1836-1838, p. 88, Mitchell Library, State Library of New South Wales (MSAA7089)
3. Hobart Town Courier, 27 March 1835, 3 April 1835 
4. Hannah Law to Thomas Ellin, 26 September 1835, Sheffield City Archives (MD1713-8), cited in Paul Paffen & Margaret Glover, 'The Hannah and Benjamin Law letters', Tasmanian Historical Research Association Papers and Proceedings, vol. 45 no. 3, September 1998, p. 17
5. True Colonist, 14 October 1836
6. John Lhotsky, 'Australia, in its historical evolution', The Art Union, July 1839, pp. 99-100
7. Curiously, however, there are four other Palawa faces featured in the 'Anthropology' volume of the official account, and these evidently life casts: Guenney (Maulboyheenner) and Timmey (Probelattener) on plate 22 and Bourrakooroo and Ménalarguerna (Manalargenna) on plate 24. There are also images of male, female and juvenile Tasmanian skulls (pl.36) and a dissected skull, showing the brain (pl. 47). See Sandra Bowdler, The mystery of the Dumoutier busts (seminar paper), Colonialism and its Aftermath Research Centre, University of Tasmania, 30 July 2009
8. From the 30 reputed original casts, eight pairs are known to exist in public collections - National Gallery of Australia, Art Gallery of Western Australia, Tasmanian Museum & Art Gallery, South Australian Museum (on loan to Art Gallery of South Australia), Australian Museum (on loan to Art Gallery of New South Wales), Queen Victoria Museum & Art Gallery, British Museum and Musée de l'Homme - while individual busts are held at the Melbourne Museum and the University of Melbourne (Truganini) and at the University of Edinburgh and the Field Museum, Chicago (Woureddy). 
9. William Moore, The story of Australian art (2 vols.), Sydney: Angus & Robertson, 1934, vol. II, p. 73
10. Tim Bonyhady, 'The politics of colonial sculpture', Art and Australia, vol. 28 no. 1, Spring 1990, p. 103
11. Christopher Allen, Art in Australia: from colonization to postmodernism, London: Thames and Hudson, 1997, p. 36
12. The presumed close familiarity between Law and his Aboriginal sitters is supported by a passage in Ellen Law's correspondence, in which she writes: '...I assure you I have a great respect for them Trucaninny has often sat on the carpet at my feet and sung to me while I was working then she would say shuppe wine Missie Law I would give her a glass she would sing again, then shuppe wine I would say no Triggy you'll be ill, O you ugly Ole woman she would say very well Triggy go away don't expect any thing from me again then she would cry O vou vary nice Lady Messa Law fine fellow..." (Letter to Thomas Ellin, 22 May 1838, in Paul Paffen & Margaret Glover, 'The Hannah and Benjamin Law letters', Tasmanian Historical Research Association Papers and Proceedings, vol. 45 no. 3, September 1998, p. 178)
13. Law's grandfather Thomas was one of the pioneers of the Sheffield cutlery industry, and his father John and brother Joseph were also silversmiths, while another brother, Edward (1798-1838) also practised as a sculptor.
14. See Glenys Davies (ed.), 'Plaster and marble: the classical and neo-classical portrait bust (Papers given at the Edinburgh Abacini colloquium', Journal of the history of collections, vol. 3 no. 2, 1991
15. Mary Mackay, 'Early Tasmanian sculptures. A reassessment', Bowyang, no. 5, April-May 1981, p. 11
16. Deborah Edwards, Presence and absence: portrait sculpture in Australia, Canberra: National Portrait Gallery, p. 25

×

Law Benjamin

Reference: see Sotheby's Melbourne, AustraliaAugust 24, 2009
, lot 5: Benjamin Law , English 1807-1890 WOUREDDY, AN ABORIGINAL CHIEF OF VAN DIEMEN'S LAND AND TRUCANINNY, WIFE OF WOUREDDY Patinated plaster
Est: $500,000 AUD - $700,000 AUD
Sotheby's Melbourne, AustraliaAugust 24, 2009
View lot details
Item Overview
Description
Incised with WOUREDDY/ AN/ ABORIGINAL CHIEF/ OF V. D. L/ B. LAW. SCULP./ HOBART TOWN (on reverse); incised with TRUCANINNY/ WIFE OF WOURADDY/ B. LAW. SCULP./ HOBART TOWN/ A.D. 1836. (on reverse) Patinated plaster
Dimensions
woureddy height: 78cm; trucaninny height: 70cm 
Artist or Maker

Benjamin Law

Exhibited
Art and natural history exhibition, Argyle Rooms, Hobart, 7 August - 18 September 1837
Launceston Mechanics' Institute Exhibition, Mechanics' Institute, Launceston, April 1860, cat. 188 (lent by Henry Dowling) (another cast)
The International Exhibition of 1862, South Kensington, 1 May - 1 November 1862, cats. 550 and 649 (lent by J. A. Youl) (another cast)
Intercolonial Exhibition, Melbourne, 1866, cat. 719 (lent by Henry Dowling) (another cast)
Tasmanian vision: the art of nineteenth century Tasmania: paintings, drawings and sculpture from European exploration and settlement to 1900, Tasmanian Museum & Art Gallery, Hobart, 1 January - 21 February 1988; Queen Victoria Museum & Art Gallery, Launceston, 16 March - 1 May 1988, cat. 76L Woureddy & 77L Tuganini (another pair)
Creating Australia: 200 years of art 1788-1988, Queensland Art Gallery, Brisbane, 17 May - 17 July 1988; Art Gallery of Western Australia, Perth, 12 August - 25 September 1988; Art Gallery of New South Wales, Sydney, 21 October - 27 November 1988; Tasmanian Museum & Art Gallery, Hobart, 21 December 1988 - 5 February 1989; National Gallery of Victoria, Melbourne, 1 March - 30 April 1989; Art Gallery of South Australia, Adelaide, 23 May - 16 July 1989 (another pair)
Viewing the Invisible: An installation by Fred Wilson, Ian Potter Museum of Art, University of Melbourne, 7 October - 6 December 1998 (another pair)
Presence and absence: portrait sculpture in Australia, National Portrait Gallery, Canberra, 22 August - 16 November 2003, cats. 45 and 46 (another pair)
On loan to the Tasmanian Museum and Art Gallery (1983)
On loan to National Portrait Gallery, Canberra (2009)

Literature
Catalogue of works of art, exhibited in the Launceston Mechanics' institute Building, on the occasion of its opening, April 9, 1860, Launceston: Charles Wilson, 1860, p. 10 (another pair)
Country Life (U.K.): 21 August 1980 (illus., another pair); 1 January 1981
Critic (Hobart), 4 April 1924
Hobart Town Courier: 27 March 1835 ; 3 April 1835 ; 11 September 1835; 7 October 1836; 18 August 1837
Illustrated Melbourne Post, 24 January 1867, p. XXX (ill.)
Intercolonial Exhibition 1866 : official catalogue (2nd ed.), Melbourne : The Commissioners, 1866 p. 84
Intercolonial Exhibition 1866, official catalogue and related papers, MS12392, box 3194/5, State library of Victoria
Iris (Sheffield, U.K.), 11 December 1838
'Tasmanian art "on loan" to Australia', Mercury, 25 March 1981
Morning Star, 7 July 1835
Ross's Hobart Town Almanack and Van Diemen's Land Annual for 1836
True Colonist, 14 October 1836
Voyage au Pôle Sud et dans l'Océanie: sur les corvettes l'Astrolabe et la Zelée, executée ... pendant les années 1837-1838-1839-1840, sous le commandement de M.J. Dumont D'Urville, publié par ordonnance de sa Majesté sous la direction supérieure de M. Jaquinot, Paris: Gide, 1841-1855, vol. Anthropologie (Atlas), illus. plate 23 (lithograph by Leveillé after photographs by Bisson)
Christopher Allen, Art in Australia: from colonization to postmodernism, London: Thames and Hudson, 1997, p. 36, illus. p. 35 (Truganini, another cast)
Christopher Allen, 'Put in their place', Australian, 20 December 2008
James Backhouse, Journal No. 13, 23 August 1837, p. 30 
Tim Bonyhady, 'Aboriginal celebrities', in Daniel Thomas (ed.), Creating Australia: 200 years of art 1788-1988, Adelaide: International Cultural corporation of Australia/Art Gallery Board of South Australia, 1988, pp. 92-93, illus. p. 93 (another pair)
Tim Bonyhady, 'The politics of colonial sculpture', Art and Australia, vol. 28 no. 1, Spring 1990, p. 103, illus. (Truganini, another cast
Barbara Campbell, Trukanini [sic] in extenso: sculpture, performance, installation Studio, Master of Visual Arts thesis, University of Sydney, 1998
Deborah Edwards, Presence and absence: portrait sculpture in Australia, Canberra: National Portrait Gallery, pp. 24-29, 82, illus. pp. 26,27 (another pair)
Penelope Edmonds, '"We think that this subject of the native races should be thoroughly gone into at the forthcoming exhibition": the 1866-67 Intercolonial Exhibition', in Kate Darian-Smith, Richard Gillespie, Caroline Jordan and Elizabeth Willis (eds), Seize the day: exhibitions, Australia and the world, Monash university Press, 2008, pp. 04.11 (illus.), 04.14
Margaret Glover, 'Benjamin Law 1807-90', Art Bulletin of Tasmania, 1985, pp. 34-39, illus. p. 34 (Truganini), p. 37 (Woureddy, another cast)
Jane, Lady Franklin, Diary, March 1837, Archives Office of Tasmania (NS279)
Terry Ingram, 'Cravat stirs "mutiny" at London art sale', Financial Review, 8 November 1979, illus. (Truganini, another cast)
Hendrik & Julianna Kolenberg, Tasmanian vision: the art of nineteenth century Tasmania: paintings, drawings and sculpture from European exploration and settlement to 1900, Hobart: Tasmanian Museum & Art Gallery, pp. 69 (illus. Truganini, another cast), 70, 103
T.J. Lempriere, Diary, 25 May 1837, Mitchell Library, State Library of New South Wales, (MLMSS A577)
John Lhotsky, 'Australia, in its historical evolution', The Art Union, July 1839, pp. 99-100
Mary Mackay, 'Early Tasmanian sculptures. A reassessment', Bowyang, no. 5, April-May 1981, pp. 6-12, illus. cover (Woureddy, another cast), p. 8 (Truganini, another cast)
John McDonald, Art of Australia (Vol. 1: Exploration to Federation), Sydney: Pan Macmillan, 2008, p. 82, illus. p. 83 (another pair)
John McPhee, Australian art in the collection of the Australian National Gallery, Canberra: Australian National Gallery, 1988, p. 8 (illus., another pair)
James Mollison & Laura Murray (eds), Australian National Gallery: an introduction, Canberra: Australian National Gallery, 1982, p. 205, illus. p. 204 (Truganini, another cast)
William Moore, The story of Australian art (2 vols.), Sydney: Angus & Robertson, 1934, vol. II, p. 73
Paul Paffen & Margaret Glover, 'The Hannah and Benjamin Law letters', Tasmanian Historical Research Association Papers and Proceedings, vol. 45 no. 3, September 1998, pp. 164-85
Andrew Sayers, Australian art, London: Oxford University Press, 2001, pp. 29, 43, 66-67
Ken Scarlett, Australian Sculptors, Melbourne: Thomas Nelson, 1980, p. 365, illus. (Truganini, another cast)
Stephen Scheding, The National Picture, Sydney: Vintage, 2002, p. 113
Bernard Smith, The spectre of Truganini, Sydney: Australian Broadcasting Commission, 1980, cover illus (Truganini, another cast)
Graeme Sturgeon, The development of Australian sculpture, 1788-1975, London: Thames & Hudson, 1978, pp. 18-19, illus. p. 18 (other casts)
Donald Williams, In our own image: the story of Australian art (3rd ed.), Sydney: McGraw-Hill, 1995, p. 30, illus. (Truganini, another cast)
Provenance
Judah Solomon, Hobart Town; thence by descent through the Solomon and Benjamin families
Private collection, New South Wales
Notes
Executed in 1835 (Woureddy) and 1836 (Trucaninny)
PROPERTY OF VARIOUS VENDORS
TOGETHER WITH

two cedar pedestals, Australia, early 19th century, each a circular tray top with moulded rim above a turned column on circular ring foot and square base

Both approximately 103.5cm high including attached blocks, tops 32.5cm and 29cm diameter respectively 

In the Hobart Town Courier of 7 October 1836, amongst advertisements for J.W. Davis's stock of flutes, guitars, bird organs, musical snuff boxes and pianos, for the stallions 'Duncan Gray' and 'Tom Thumb' being offered at stud and for numerous parcels of Vandiemonian real estate, there appeared a small announcement:

TRUCANINNY
B. Law begs to inform the subscribers to his busts of the Aborigines of this Colony, that he has now completed his model of the female, Trucaninny, and has several duplicates ready for delivery, either in Bronze or colour. No. 76, Murray street. Likenesses moddled and busts executed in marble, bass-relief, etc.

Truganini was the second of two portrait busts of the Nuenonne (Bruny Island) Aborigines Woureddy and Truganini. Both sitters were well-known in the colony as members of George Augustus Robinson's 'Friendly Mission' to conciliate the few remaining 'wild' natives of the Big River and Oyster Bay tribes. Probably initially commissioned by Robinson himself, they were the work of Benjamin Law, a fellow Wesleyan, recent immigrant and settler Australia's first professional sculptor. Law's busts were offered by public subscription at four guineas apiece, a relatively high price, and certainly well above the 30 shillings being asked by Benjamin Duterrau for his somewhat coarser and rather more modest plaster reliefs.υ1

The superior quality of Law's portrait busts was immediately apparent to all who saw them. Of the first it is reported that Woureddy himself was 'highly pleased with the model'υ2, while the Courier declared it 'a beautiful cast' and 'most happily executed.'υ3 Law's wife Hannah wrote to a relative in September 1835 that 'Casts ... are called for not only in all Quarters of the Colony, but are being sent to India, to Sweeden [sic], to England, Scotland, and one went last week to Cambridge Colledge [sic], the Gift of the rural Dean of this Land the Governor [Lt-Gov. George Arthur] has purchased one and ordered a second he is sending one to the Home Secretary, the Attorney General etc., and indeed all the great people...'υ4 Several years later, when the companion portrait of Truganini had been completed, the True Colonist reported that 'scientific gentlemen' had described the pair as 'works of very great merit'υ5, while even the hard-to-please John Lhotsky described them as 'perfect likenesses ... altogether a respectable work.'υ6

The verisimilitude of the sculptures is well-illustrated by the response of Dumont d'Urville's Pacific research expedition of 1837-1840. The scientists' conventional practice was for their naturalist and phrenologist, Dr Pierre Dumoutier, to take life casts of heads of the various ethnic types encountered en route, but on visiting Hobart Town in December 1839 they were happy to acquire a set of the Law plasters, and indeed to reproduce them in the official account of the voyage. This decision may, however, have been based on practical as much as aesthetic considerations; by 1839-1840, when the Astrolabe and the Zelée visited Hobart Town, most of the surviving Palawa (Tasmanian Aborigines) were in protective custody on Flinders Island, while Robinson's 'friendly natives' (amongst them Woureddy and Truganini) had joined him in the Port Phillip District.υ7 

Indeed, the tragedy of the Tasmanian ethnocide during the 1830s and 1840s meant that Law's sculptures came to be regarded as of greater scientific than artistic interest, and the majority of casts surviving in public collections were originally acquired as ethnographic artefacts.υ8 Furthermore, despite Woureddy being applauded by the great chronicler of Australian art William Moore as 'a striking work boldly and effectively rendered'υ9, Law and his sculptures languished in the common neglect of colonial art through most of the 20th century.

However, with the publication of Mary Mackay's pioneering research in 1981, with the Australian National Gallery's acquisition of a set of the sculptures in the same year and with the works' inclusion in the Australian Bicentennial Authority touring show The Great Australian Art Exhibition, 'by the end of the 1980s Trucanini [sic] and Woureddy were on course to becoming the iconic colonial sculptures.'υ10 They are now respected as much for their intrinsic artistic quality as for their ethno-historical significance, with Christopher Allen describing them as 'among the few nineteenth century Australian sculptures worthy of serious consideration as art.'υ11 

The striking, almost intimate naturalismυ12 of the two portraits can obscure their underlying artifice. Although he described himself for purposes of immigration as an 'agriculturalist', and while his profession was to be stunted by the economic and cultural realities of colonial Van Diemen's Land, Benjamin Law was in fact a skilled and experienced artist, scion of a distinguished Sheffield artisan family.υ13 Despite their exotic subject matter and their precise ethnographic details (skin cloaks, Woureddy's kangaroo-sinew necklaces and ochre-dreadlocked hair, and Truganini's strands of marineer shells), the two busts are entirely consistent with the aesthetic of Law's training, that of late 18th and early 19th century neoclassicism,υ14 from their static, frontal orientation and associated clarity of contour to the conventional 'slicing' of the upper arms and the restrained, neo-Attic socles. Paradoxically, however, Law is here able to avoid the perennial problem of the neo-classical portraitist: the issue of 'decorum', the question of whether to show the sitter in modern or antique dress. Woureddy and Truganini's kangaroo-skin wraps are both contemporary and ancient-historical, with the further advantage of suggesting the Greek chlamys or Roman toga.

When considered in this framework, it is possible to read Law's sculptures as consciously idealising, showing Woureddy as (in Mary Mackay's memorable words) 'hunter, warrior and man-in-command, a Greek hero in kangaroo skin',υ15 and Truganini, the ultimate victim of the European invasion, the so-called 'Last Tasmanian', as an archetypal mourning figure: Electra grieving for her father, or Niobe for her children. Ultimately it is this curious colonial hybridity, this mélange of artistic intentions and languages that gives the present works their great distinction. As Deborah Edwards has written: 'Law's mastery lay in the creation of works which were (and are) simultaneously ethnographically shaped objects, intended mementos of a "doomed race", and exceptional portraits.'υ16

The busts additionally notable for being accompanied by a pair of elegant colonial turned cedar columns, their original supports from 'Temple House', Hobart. A handsome two-storey Georgian townhouse which still stands on the corner of Argyle and Liverpool Streets. 'Temple House' was built by Judah Solomon and his brother, Joseph, in the late 1820s and remained in the hands of their descendants until 1921, with the busts standing on these pedestals in the hallway. This provenance is highly suggestive; not only is 'Temple House' only two blocks from George Augustus Robinson's residence in Elizabeth Street (where Woureddy and Truganini were living or visiting at the time the portraits were taken), but the purchase might also signal a particular sympathy on the part of the doubly-exiled Jewish convict Judah Solomon for the displaced original Tasmanians.

We are most grateful to John McPhee for his assistance in cataloguing this work

1. In the Hobart Town Courier of 5 August 1836, Duterrau offered for sale 13 plaster bas-reliefs of Robinson and his 'friendly natives'. Casts of most of this group are preserved in the collection of the Tasmanian Museum & Art Gallery.
2. George Augustus Robinson, letter to Thomas Northover, in papers of George Augustus Robinson, vol. 23, letter Book 1836-1838, p. 88, Mitchell Library, State Library of New South Wales (MSAA7089)
3. Hobart Town Courier, 27 March 1835, 3 April 1835 
4. Hannah Law to Thomas Ellin, 26 September 1835, Sheffield City Archives (MD1713-8), cited in Paul Paffen & Margaret Glover, 'The Hannah and Benjamin Law letters', Tasmanian Historical Research Association Papers and Proceedings, vol. 45 no. 3, September 1998, p. 17
5. True Colonist, 14 October 1836
6. John Lhotsky, 'Australia, in its historical evolution', The Art Union, July 1839, pp. 99-100
7. Curiously, however, there are four other Palawa faces featured in the 'Anthropology' volume of the official account, and these evidently life casts: Guenney (Maulboyheenner) and Timmey (Probelattener) on plate 22 and Bourrakooroo and Ménalarguerna (Manalargenna) on plate 24. There are also images of male, female and juvenile Tasmanian skulls (pl.36) and a dissected skull, showing the brain (pl. 47). See Sandra Bowdler, The mystery of the Dumoutier busts (seminar paper), Colonialism and its Aftermath Research Centre, University of Tasmania, 30 July 2009
8. From the 30 reputed original casts, eight pairs are known to exist in public collections - National Gallery of Australia, Art Gallery of Western Australia, Tasmanian Museum & Art Gallery, South Australian Museum (on loan to Art Gallery of South Australia), Australian Museum (on loan to Art Gallery of New South Wales), Queen Victoria Museum & Art Gallery, British Museum and Musée de l'Homme - while individual busts are held at the Melbourne Museum and the University of Melbourne (Truganini) and at the University of Edinburgh and the Field Museum, Chicago (Woureddy). 
9. William Moore, The story of Australian art (2 vols.), Sydney: Angus & Robertson, 1934, vol. II, p. 73
10. Tim Bonyhady, 'The politics of colonial sculpture', Art and Australia, vol. 28 no. 1, Spring 1990, p. 103
11. Christopher Allen, Art in Australia: from colonization to postmodernism, London: Thames and Hudson, 1997, p. 36
12. The presumed close familiarity between Law and his Aboriginal sitters is supported by a passage in Ellen Law's correspondence, in which she writes: '...I assure you I have a great respect for them Trucaninny has often sat on the carpet at my feet and sung to me while I was working then she would say shuppe wine Missie Law I would give her a glass she would sing again, then shuppe wine I would say no Triggy you'll be ill, O you ugly Ole woman she would say very well Triggy go away don't expect any thing from me again then she would cry O vou vary nice Lady Messa Law fine fellow..." (Letter to Thomas Ellin, 22 May 1838, in Paul Paffen & Margaret Glover, 'The Hannah and Benjamin Law letters', Tasmanian Historical Research Association Papers and Proceedings, vol. 45 no. 3, September 1998, p. 178)
13. Law's grandfather Thomas was one of the pioneers of the Sheffield cutlery industry, and his father John and brother Joseph were also silversmiths, while another brother, Edward (1798-1838) also practised as a sculptor.
14. See Glenys Davies (ed.), 'Plaster and marble: the classical and neo-classical portrait bust (Papers given at the Edinburgh Abacini colloquium', Journal of the history of collections, vol. 3 no. 2, 1991
15. Mary Mackay, 'Early Tasmanian sculptures. A reassessment', Bowyang, no. 5, April-May 1981, p. 11
16. Deborah Edwards, Presence and absence: portrait sculpture in Australia, Canberra: National Portrait Gallery, p. 25

Publishing details:

Location:

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Tales and Legends of Canberra Pioneersview full entry

Reference: An autobiography, or, Tales and Legends of Canberra Pioneers, by Samuel Shumack. With reproductions of 8 paintings by Gray Smith.
Publishing details: Canberra : Australian National University Press, [1967], [3] p. : ports. ; 28 cm.
Ref: 1009

×

Tales and Legends of Canberra Pioneers

Reference: An autobiography, or, Tales and Legends of Canberra Pioneers, by Samuel Shumack. With reproductions of 8 paintings by Gray Smith.

Publishing details: Canberra : Australian National University Press, [1967], [3] p. : ports. ; 28 cm.

Location: 1009

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Smith Gray 8 works illustratedview full entry

Reference: see An autobiography, or, Tales and Legends of Canberra Pioneers, by Samuel Shumack. With reproductions of 8 paintings by Gray Smith.
from the Gray Smith website:
When Tales and Legends of Canberra Pioneers was published in 1967, the Shumack family turned to Gray Smith to bring Samuel Shumack’s words to life. Eight of Gray’s Canberry paintings were chosen to illustrate the book, capturing not just the pioneer stories but the spirit of the region itself.
Samuel Shumack arrived in the Canberra region as a boy in 1856, farmed for most of his life, and only began writing after an accident in his 50s forced him to retire. What started as an autobiography grew into a collection of anecdotes, myths, and pioneer stories that painted a vivid picture of early Canberra. My family, the Southwells, is often included in his tales. His manuscript sat in family archives for decades before his sons finally brought it to print, with Gray’s paintings giving colour and form to their father’s words.
I thought I would share two of my favourite paintings from the book: St John’s Struck by Lightning and The Flooding of ‘The Harp of Erin’.
I’ve been to one funeral and multiple weddings at St John’s Church, including one where I was a groomsman. So I thought I knew the church well. But it has gone through a few versions since its first incarnation in 1844.
Gray’s painting depicts one of those early versions of the church in a dramatic moment with the spire exploding, the Reverend running for his life, while a farmer calmly gathers a lamb. While the caption says “The tower of St John’s Church, Canberra, struck by lightning in 1851,” there’s no mention of this event in Shumack’s recollections, nor anywhere else I could find. There’s a reference to the spire subsiding and needing to be rebuilt, but I couldn’t find anything about the spire being destroyed by a lightning bolt — possibly a crIt is certainly a narrative painting, like most of Gray’s Canberry series. To me, a narrative painting prompts the viewer to ask, ‘What happened?’ and ‘What might happen next?’ This simple storytelling approach increases audience engagement. I remember visiting the Van Gogh Museum in Amsterdam. I noticed some paintings had red dots, indicating they were the must-see works if you’re short on time. Most of them were narrative pieces: crows flying from a wheat field; a woman outside her home with smoke rising from the chimney; sowing the field; people eating potatoes. 
BTW, I’m trying to find Gray’s painting, St John’s Struck by Lightning. Let me know if you have any leads.
You can find The Harp of Erin Inn in Flood (1966) at the National Gallery of Australia. The pub was in Queanbeyan, on the floodplain of the Queanbeyan River.
eative figment of Gray’s imagination.
In this painting, Gray shows his affection for ordinary folk caught in extraordinary circumstances. It’s a flood scene, yet it’s not tragic. There’s humour and resilience in the figures, people perched on rooftops, chatting, rowing, helping each other. The composition feels light and human despite the bleak landscape.
It reflects Gray’s eye for community and survival, his empathy for people coping with nature’s indifference.
Gray’s wife, Joan Smith, was the researcher for these paintings. The Canberra Times in 1966 remarked that Joan was “The perfect wife for an artist,” noting “Mrs Smith has spent the past year doing the behind-the-scenes historical research necessary to uncover the subject matter which has provided her husband with inspiration for his 34 paintings.”
Funny how these old stories still ripple through our families. When I showed my mum Shumack’s book, she remembered having a Shumack as a teacher at Canberra High in the 1950s.
References
“Perfect Wife for an Artist.” The Canberra Times, October 13, 1966, p. 20.
Shumack, Samuel. An Autobiography or Tales and Legends of Canberra Pioneers. Edited by Shumack, Samuel, and J. E. Shumack. Australian National University Press, 1967.
You can still buy secondhand copies of Autobiography or Tales and Legends of Canberra Pioneers online.
by Shawn Calolahan,

Publishing details: https://graysmithartist.com/2025/10/22/graCanberra : Australian National University Press, [1967], [3] p. : ports. ; 28 cm.

y-smith-and-the-tales-and-legends-of-canberra-pioneers/

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Smith Gray 8 works illustrated

Reference: see An autobiography, or, Tales and Legends of Canberra Pioneers, by Samuel Shumack. With reproductions of 8 paintings by Gray Smith.
from the Gray Smith website:
When Tales and Legends of Canberra Pioneers was published in 1967, the Shumack family turned to Gray Smith to bring Samuel Shumack’s words to life. Eight of Gray’s Canberry paintings were chosen to illustrate the book, capturing not just the pioneer stories but the spirit of the region itself.
Samuel Shumack arrived in the Canberra region as a boy in 1856, farmed for most of his life, and only began writing after an accident in his 50s forced him to retire. What started as an autobiography grew into a collection of anecdotes, myths, and pioneer stories that painted a vivid picture of early Canberra. My family, the Southwells, is often included in his tales. His manuscript sat in family archives for decades before his sons finally brought it to print, with Gray’s paintings giving colour and form to their father’s words.
I thought I would share two of my favourite paintings from the book: St John’s Struck by Lightning and The Flooding of ‘The Harp of Erin’.
I’ve been to one funeral and multiple weddings at St John’s Church, including one where I was a groomsman. So I thought I knew the church well. But it has gone through a few versions since its first incarnation in 1844.
Gray’s painting depicts one of those early versions of the church in a dramatic moment with the spire exploding, the Reverend running for his life, while a farmer calmly gathers a lamb. While the caption says “The tower of St John’s Church, Canberra, struck by lightning in 1851,” there’s no mention of this event in Shumack’s recollections, nor anywhere else I could find. There’s a reference to the spire subsiding and needing to be rebuilt, but I couldn’t find anything about the spire being destroyed by a lightning bolt — possibly a crIt is certainly a narrative painting, like most of Gray’s Canberry series. To me, a narrative painting prompts the viewer to ask, ‘What happened?’ and ‘What might happen next?’ This simple storytelling approach increases audience engagement. I remember visiting the Van Gogh Museum in Amsterdam. I noticed some paintings had red dots, indicating they were the must-see works if you’re short on time. Most of them were narrative pieces: crows flying from a wheat field; a woman outside her home with smoke rising from the chimney; sowing the field; people eating potatoes. 
BTW, I’m trying to find Gray’s painting, St John’s Struck by Lightning. Let me know if you have any leads.
You can find The Harp of Erin Inn in Flood (1966) at the National Gallery of Australia. The pub was in Queanbeyan, on the floodplain of the Queanbeyan River.
eative figment of Gray’s imagination.
In this painting, Gray shows his affection for ordinary folk caught in extraordinary circumstances. It’s a flood scene, yet it’s not tragic. There’s humour and resilience in the figures, people perched on rooftops, chatting, rowing, helping each other. The composition feels light and human despite the bleak landscape.
It reflects Gray’s eye for community and survival, his empathy for people coping with nature’s indifference.
Gray’s wife, Joan Smith, was the researcher for these paintings. The Canberra Times in 1966 remarked that Joan was “The perfect wife for an artist,” noting “Mrs Smith has spent the past year doing the behind-the-scenes historical research necessary to uncover the subject matter which has provided her husband with inspiration for his 34 paintings.”
Funny how these old stories still ripple through our families. When I showed my mum Shumack’s book, she remembered having a Shumack as a teacher at Canberra High in the 1950s.
References
“Perfect Wife for an Artist.” The Canberra Times, October 13, 1966, p. 20.
Shumack, Samuel. An Autobiography or Tales and Legends of Canberra Pioneers. Edited by Shumack, Samuel, and J. E. Shumack. Australian National University Press, 1967.
You can still buy secondhand copies of Autobiography or Tales and Legends of Canberra Pioneers online.
by Shawn Calolahan,

Publishing details: https://graysmithartist.com/2025/10/22/graCanberra : Australian National University Press, [1967], [3] p. : ports. ; 28 cm.

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Smith Grayview full entry

Reference: Shawn Callahan is writing a biography on Gray Smith (as at 2025) and has set up a site where he is sharing information on the artist: https://graysmithartist.com/ - he would be grateful for any information that would assist with this project..

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Smith Gray

Reference: Shawn Callahan is writing a biography on Gray Smith (as at 2025) and has set up a site where he is sharing information on the artist: https://graysmithartist.com/ - he would be grateful for any information that would assist with this project..

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Smith Gray chronologyview full entry

Reference: From Gray Smith website (curated by Shawn Callahan):
Gray Smith: Life and Work Chronology
This chronology of Gray Smith’s life and work is based on an earlier chronology compiled by Fern Smith. It has been updated and expanded to reflect new details uncovered through my ongoing research.
1910s
• 1919: 13 February. Born in Gardenvale, Victoria.
1930s
• 1935: Apprenticed to an optician and learnt fine metalwork skills, which were later used in the jewellery he made.
• 1939: Worked as a timber cutter at Mount Buffalo, helping to build a house.
1940s
• 1942–1945: Studied with Max Meldrum.
• 1944: Married Dorothy Evonne Egan-Lee on 3 July.
• 1945–1950: Exhibited in group shows with the Contemporary Art Society in Melbourne.
• 1946: First daughter, Jocelyn, born.
• 1947: Gray Smith and Joy Hester began living together. Both left existing marriages. This marked the start of a long personal and creative partnership that shaped both of their artistic lives.
• 1948: Moved to Hurstbridge. No electricity or sewerage.
1950s
• 1951: First son, Peregrine Smith, born.
• 1952: April. Moved to Avonsleigh. Charles and Barbara Blackman later joined them for a year.
• 1954: Second daughter, Fern, born.
• 1955: Published work in Ern Malley’s Journal.
• 1956: First solo exhibition at the Gallery of Modern Art, Melbourne.
• 1957: Painting presented to the Museum of Modern Art, New York.
• 1958: Solo exhibition at the Gallery of Contemporary Art, opened by Vance Palmer.
1960s
• 1960: August. Joy Smith (née Hester) died.
• 1961: Settled in Canberra with Joan Upward (née Davis), her children Brett and Matthew, and Gray’s children Fern and Peregrine. This thirteen-year partnership saw Gray produce his largest body of work and gain national recognition.
• 1962: Group exhibition at Studio Nundah, Canberra, featuring Gray’s artwork and jewellery.
• 1964: Art teacher for severely physically disabled children at Canberra Hospital.
◦ Won the Helena Rubinstein Portrait Prize at the David Jones Gallery, ACT, for Portrait of Lady (Molly) Huxley.
◦ Exhibited the Back o’ Bourke series at Gallery A.
◦ Third daughter, Sheenagh Smith, born.
• 1966: Joint exhibition with John Perceval at the Theatre Gallery, Canberra.
• 1966: The Canberry Paintings: The First Hundred Years presented by the Arts Council of Canberra.
• 1967: Preview exhibition at the residence of Henri Souillac, Cultural Counsellor of France, prior to travelling to Paris.
◦ Artworks published in Tales and Legends of Canberra Pioneers, the diary of Samuel Shumack, published by ANU Press.
• 1968: Joint exhibition with Arthur Wicks at the Cité Internationale des Arts and Qantas, Paris, alongside a residency at the Cité des Arts.
◦ Eurimburra Legend exhibition at Sculpture Gallery.
• 1969: ANU Arts Society acquisition exhibition at the ANU Union Building, opened by Dr B. E. Kent.
◦ Directed the mural on the YWCA building, now demolished, created by students of the Canberra School of Art.
• 1969–1971: Taught at the Canberra School of Art.
1970s
• 1970: Produced the Captain Cook series.
• 1971: Completed the Daisy Bates series for an ABC broadcasting commission. Research and development led by Professor James Tulip.
• 1971–1972: Art critic for The Canberra Times.
• 1972–1973: Gray and Joan Smith separated.
• 1975: Solo exhibition at Solander Galleries, arranged by Joan Scott (née Smith).
• 1976–1990: Continued to paint despite ill health, though he did not exhibit.
1990s
1990: 7 August. Died in Canberra aged 70.

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Smith Gray chronology

Reference: From Gray Smith website (curated by Shawn Callahan):
Gray Smith: Life and Work Chronology
This chronology of Gray Smith’s life and work is based on an earlier chronology compiled by Fern Smith. It has been updated and expanded to reflect new details uncovered through my ongoing research.
1910s
• 1919: 13 February. Born in Gardenvale, Victoria.
1930s
• 1935: Apprenticed to an optician and learnt fine metalwork skills, which were later used in the jewellery he made.
• 1939: Worked as a timber cutter at Mount Buffalo, helping to build a house.
1940s
• 1942–1945: Studied with Max Meldrum.
• 1944: Married Dorothy Evonne Egan-Lee on 3 July.
• 1945–1950: Exhibited in group shows with the Contemporary Art Society in Melbourne.
• 1946: First daughter, Jocelyn, born.
• 1947: Gray Smith and Joy Hester began living together. Both left existing marriages. This marked the start of a long personal and creative partnership that shaped both of their artistic lives.
• 1948: Moved to Hurstbridge. No electricity or sewerage.
1950s
• 1951: First son, Peregrine Smith, born.
• 1952: April. Moved to Avonsleigh. Charles and Barbara Blackman later joined them for a year.
• 1954: Second daughter, Fern, born.
• 1955: Published work in Ern Malley’s Journal.
• 1956: First solo exhibition at the Gallery of Modern Art, Melbourne.
• 1957: Painting presented to the Museum of Modern Art, New York.
• 1958: Solo exhibition at the Gallery of Contemporary Art, opened by Vance Palmer.
1960s
• 1960: August. Joy Smith (née Hester) died.
• 1961: Settled in Canberra with Joan Upward (née Davis), her children Brett and Matthew, and Gray’s children Fern and Peregrine. This thirteen-year partnership saw Gray produce his largest body of work and gain national recognition.
• 1962: Group exhibition at Studio Nundah, Canberra, featuring Gray’s artwork and jewellery.
• 1964: Art teacher for severely physically disabled children at Canberra Hospital.
◦ Won the Helena Rubinstein Portrait Prize at the David Jones Gallery, ACT, for Portrait of Lady (Molly) Huxley.
◦ Exhibited the Back o’ Bourke series at Gallery A.
◦ Third daughter, Sheenagh Smith, born.
• 1966: Joint exhibition with John Perceval at the Theatre Gallery, Canberra.
• 1966: The Canberry Paintings: The First Hundred Years presented by the Arts Council of Canberra.
• 1967: Preview exhibition at the residence of Henri Souillac, Cultural Counsellor of France, prior to travelling to Paris.
◦ Artworks published in Tales and Legends of Canberra Pioneers, the diary of Samuel Shumack, published by ANU Press.
• 1968: Joint exhibition with Arthur Wicks at the Cité Internationale des Arts and Qantas, Paris, alongside a residency at the Cité des Arts.
◦ Eurimburra Legend exhibition at Sculpture Gallery.
• 1969: ANU Arts Society acquisition exhibition at the ANU Union Building, opened by Dr B. E. Kent.
◦ Directed the mural on the YWCA building, now demolished, created by students of the Canberra School of Art.
• 1969–1971: Taught at the Canberra School of Art.
1970s
• 1970: Produced the Captain Cook series.
• 1971: Completed the Daisy Bates series for an ABC broadcasting commission. Research and development led by Professor James Tulip.
• 1971–1972: Art critic for The Canberra Times.
• 1972–1973: Gray and Joan Smith separated.
• 1975: Solo exhibition at Solander Galleries, arranged by Joan Scott (née Smith).
• 1976–1990: Continued to paint despite ill health, though he did not exhibit.
1990s
1990: 7 August. Died in Canberra aged 70.

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