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New Quilt 2010 The view full entry

Reference: The New Quilt 2010, Contemporary Quilt Textiles (about 25 quiltmakers) [to be indexed]
Publishing details: Manly Art Gallery, 2010, 6-page folding card
Ref: 129

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New Quilt 2010 The

Reference: The New Quilt 2010, Contemporary Quilt Textiles (about 25 quiltmakers) [to be indexed]

Publishing details: Manly Art Gallery, 2010, 6-page folding card

Location: 129

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Narrative Knot The - Stories in ceramicsview full entry

Reference: The Narrative Knot - Stories in ceramics (26 artists)
Publishing details: Manly Art Gallery, 2012, 16pp
Ref: 129

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Narrative Knot The - Stories in ceramics

Reference: The Narrative Knot - Stories in ceramics (26 artists)

Publishing details: Manly Art Gallery, 2012, 16pp

Location: 129

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Celebration - the use of ceramics in commemorationview full entry

Reference: Celebration - the use of ceramics in the commemoration of Important events (16 ceramic artists [to be indexed]
Publishing details: Manly Art Gallery, 2012, 16pp
Ref: 129

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Celebration - the use of ceramics in commemoration

Reference: Celebration - the use of ceramics in the commemoration of Important events (16 ceramic artists [to be indexed]

Publishing details: Manly Art Gallery, 2012, 16pp

Location: 129

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Regeneration - contemporary quilt textilesview full entry

Reference: Regeneration - contemporary quilt textiles - 19 artists [to be indexed]
Publishing details: Manly Art Gallery, 2012, 24pp
Ref: 129

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Regeneration - contemporary quilt textiles

Reference: Regeneration - contemporary quilt textiles - 19 artists [to be indexed]

Publishing details: Manly Art Gallery, 2012, 24pp

Location: 129

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State of art - Peace Theview full entry

Reference: The State of Art - Peace. Travelling exhibition organised by the Manly Art Gallery ["The State of Art: Peace, is one of the most significant state-wide exhibitions in the 100 years of regional galleries in New South Wales. It has involved the collaboration of 37 regional and public galleries in an exhibition project that highlights the wealth and diversity of artists and collections throughout NSW. Essentially, it tells the story of a vital network of galleries which plays a key role in both stimulating and reflecting the cultural life of this state" -- p. 5. Catalogue essay by: Katherine Roberts, coordinating curator.] [to be indexed]
Publishing details: Manly Art Gallery, 2004, pb, 32pp
Ref: 129

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State of art - Peace The

Reference: The State of Art - Peace. Travelling exhibition organised by the Manly Art Gallery ["The State of Art: Peace, is one of the most significant state-wide exhibitions in the 100 years of regional galleries in New South Wales. It has involved the collaboration of 37 regional and public galleries in an exhibition project that highlights the wealth and diversity of artists and collections throughout NSW. Essentially, it tells the story of a vital network of galleries which plays a key role in both stimulating and reflecting the cultural life of this state" -- p. 5. Catalogue essay by: Katherine Roberts, coordinating curator.] [to be indexed]

Publishing details: Manly Art Gallery, 2004, pb, 32pp

Location: 129

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White Heat - Australia Ceramics Association’s Biennial Exhibition 2009view full entry

Reference: White Heat - Australia Ceramics Association’s Biennial Exhibition 2009 ‘Social Political Cultural Issues’, essay by Dr Julie Bartholomew [to be indexed]
Publishing details: Manly Art Gallery, 2009,
Ref: 129

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White Heat - Australia Ceramics Association’s Biennial Exhibition 2009

Reference: White Heat - Australia Ceramics Association’s Biennial Exhibition 2009 ‘Social Political Cultural Issues’, essay by Dr Julie Bartholomew [to be indexed]

Publishing details: Manly Art Gallery, 2009,

Location: 129

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Art & Soulview full entry

Reference: see Perkins Hetti - Art + Soul by Hetti Perkins (a journey into the world of Aboriginal Art). Includes artist biographies. [’Hetti Perkins takes readers on a captivating journey into the world of Aboriginal art. FROM THE PUBLISHERS OF THE BESTSELLER FIRST AUSTRALIANS COMES the lavishly illustrated art+soul, the companion book to the prime-time ABC TV series by the same name.

art+soul is inspired by the flourishing of Aboriginal and Torres Strait Islander art in Australia over the past thirty years, captivating viewers around the world with astonishingly powerful artworks.

Hetti Perkins, the distinguished Aboriginal art curator, travels to the startlingly beautiful landscapes of remote Arnhem Land, saltwater country and the desert heartlands of Central Australia, sharing with us the rare privilege of being welcomed into the homes and homelands of many senior artists.

This lavishly illustrated book captures the remarkable energy and diversity of Aboriginal art, from the Papunya Tula Artists, the renowned art movement that had its humble beginnings in the early 1970s, to Rover Thomas and his heirs' phenomenal achievements in the East Kimberley.

The book includes more than 150 artworks, and photographs by Warwick Thornton, director of the accompanying television series and the award-winning film Samson and Delilah.

About the author
Hetti Perkins is a member of the Eastern Arrernte and Kalkadoon Aboriginal communities. She is the Senior Curator of Aboriginal and Torres Strait Islander Art at the Art Gallery of New South Wales. She has curated major survey exhibitions of Indigenous art, including Australia's representation at the Venice Biennale in 1997, and most recently the Australian Indigenous Art Commission at the Musée du Quai Branly in Paris. She edited One Sun One Moon: Aboriginal Art in Australia. Hetti is the eldest daughter of Charlie Perkins, the esteemed Indigenous activist.
- See more at: https://www.mup.com.au/items/97805’22857634#sthash.7q4g1gOC.dpuf
Publishing details: Melbourne University Press, 2010, 286pp

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Art & Soul

Reference: see Perkins Hetti - Art + Soul by Hetti Perkins (a journey into the world of Aboriginal Art). Includes artist biographies. [’Hetti Perkins takes readers on a captivating journey into the world of Aboriginal art. FROM THE PUBLISHERS OF THE BESTSELLER FIRST AUSTRALIANS COMES the lavishly illustrated art+soul, the companion book to the prime-time ABC TV series by the same name.

art+soul is inspired by the flourishing of Aboriginal and Torres Strait Islander art in Australia over the past thirty years, captivating viewers around the world with astonishingly powerful artworks.

Hetti Perkins, the distinguished Aboriginal art curator, travels to the startlingly beautiful landscapes of remote Arnhem Land, saltwater country and the desert heartlands of Central Australia, sharing with us the rare privilege of being welcomed into the homes and homelands of many senior artists.

This lavishly illustrated book captures the remarkable energy and diversity of Aboriginal art, from the Papunya Tula Artists, the renowned art movement that had its humble beginnings in the early 1970s, to Rover Thomas and his heirs' phenomenal achievements in the East Kimberley.

The book includes more than 150 artworks, and photographs by Warwick Thornton, director of the accompanying television series and the award-winning film Samson and Delilah.

About the author
Hetti Perkins is a member of the Eastern Arrernte and Kalkadoon Aboriginal communities. She is the Senior Curator of Aboriginal and Torres Strait Islander Art at the Art Gallery of New South Wales. She has curated major survey exhibitions of Indigenous art, including Australia's representation at the Venice Biennale in 1997, and most recently the Australian Indigenous Art Commission at the Musée du Quai Branly in Paris. She edited One Sun One Moon: Aboriginal Art in Australia. Hetti is the eldest daughter of Charlie Perkins, the esteemed Indigenous activist.
- See more at: https://www.mup.com.au/items/97805’22857634#sthash.7q4g1gOC.dpuf

Publishing details: Melbourne University Press, 2010, 286pp

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Barton Del Kathrynview full entry

Reference: ‘Oyster’, issue 43 Dec/Jan 2003 edition
Del Kathrn Barton 'Basic Instinct' by Clare Barker - 6 page full colour essay and images of her early artworks.
Ref: 1000

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Barton Del Kathryn

Reference: ‘Oyster’, issue 43 Dec/Jan 2003 edition
Del Kathrn Barton 'Basic Instinct' by Clare Barker - 6 page full colour essay and images of her early artworks.

Publishing details:

Location: 1000

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posters in Australiaview full entry

Reference: see The Australian Poster Album
Publishing details: Sun Books. 1974, spiral bound, large format

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posters in Australia

Reference: see The Australian Poster Album

Publishing details: Sun Books. 1974, spiral bound, large format

Location:

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ABC of SHOWCARD &
TICKETWRITING The view full entry

Reference: ABC of SHOWCARD & TICKETWRITING The by C Milnes [ 'How-to' book of showcard writing as practised particularly by the big stores in the 1930s. Contains several pages of fine examples of the craft by leading-store writers of the day from Farmers, Sydney, and Beville's, Buckley & Nunn's, Melbourne. Show card writing was one of the early steps in a sign writer’s career (or THE step for many) and the basic tenets of layout and letter formation were taught vocationally throughout the early twentieth century. To get computer-perfect consistency decades before computers were made meant a steady hand, an exacting eye and hours and hours of rote drilling and diligent practice.]
Publishing details: Spiral Bound Soft Cover with 78 pages.

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ABC of SHOWCARD &
TICKETWRITING The

Reference: ABC of SHOWCARD & TICKETWRITING The by C Milnes [ 'How-to' book of showcard writing as practised particularly by the big stores in the 1930s. Contains several pages of fine examples of the craft by leading-store writers of the day from Farmers, Sydney, and Beville's, Buckley & Nunn's, Melbourne. Show card writing was one of the early steps in a sign writer’s career (or THE step for many) and the basic tenets of layout and letter formation were taught vocationally throughout the early twentieth century. To get computer-perfect consistency decades before computers were made meant a steady hand, an exacting eye and hours and hours of rote drilling and diligent practice.]

Publishing details: Spiral Bound Soft Cover with 78 pages.

Location: 0

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Henderson Edmund (1821-1896)view full entry

Reference: see Dominic Winter Book Auctions (UK)
Sale Date: 06 Feb 2013 11am
07 Feb 2013 11am - Henderson (Edmund, 1821-1896). A collection of eight watercolour landscape studies, including three Australian landscape views, c. 1860s, watercolour on paper, unsigned, 177 x 254mm (7 x 10ins) and similar, loosely contained in later cloth album, one view entitled ‘South of the Medway’ framed and glazed. Includes three photocopies of similar watercolour views of Australia by the same artist which appear to have been formerly part of the same group. A similar view was sold by Sotheby’s Melbourne on 26th August 2008 (lot 129). Edmund Henderson was educated at the Royal Military Academy, Woolwich and became comptroller of convicts in Western Australia, returning to England in 1886. (8)

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Henderson Edmund (1821-1896)

Reference: see Dominic Winter Book Auctions (UK)
Sale Date: 06 Feb 2013 11am
07 Feb 2013 11am - Henderson (Edmund, 1821-1896). A collection of eight watercolour landscape studies, including three Australian landscape views, c. 1860s, watercolour on paper, unsigned, 177 x 254mm (7 x 10ins) and similar, loosely contained in later cloth album, one view entitled ‘South of the Medway’ framed and glazed. Includes three photocopies of similar watercolour views of Australia by the same artist which appear to have been formerly part of the same group. A similar view was sold by Sotheby’s Melbourne on 26th August 2008 (lot 129). Edmund Henderson was educated at the Royal Military Academy, Woolwich and became comptroller of convicts in Western Australia, returning to England in 1886. (8)

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Silas Ellis 1883-1972view full entry

Reference: see Peter Wilson Fine Art Auctioneers (UK) Ellis Silas (British, 1883-1972), Portrait of the artist`s wife, half length, seated in riding clothes, signed on verso, oil on canvas, 74. 5 x 62cm.; 29. 5 x 24. 5in. * Exhibited at the Royal Academy, Royal Institute of Painters in Watercolours, Royal Institute of Oil Painters. He was a war artist for the Australian Government 1914 - 1918 and spent three years in Papua painting and collecting curios which he described in his book `A Primitive Arcadia`. President of the London Sketch Club 1930. Artists` Resale Right ("droit de suite") may apply to this lot.

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Silas Ellis 1883-1972

Reference: see Peter Wilson Fine Art Auctioneers (UK) Ellis Silas (British, 1883-1972), Portrait of the artist`s wife, half length, seated in riding clothes, signed on verso, oil on canvas, 74. 5 x 62cm.; 29. 5 x 24. 5in. * Exhibited at the Royal Academy, Royal Institute of Painters in Watercolours, Royal Institute of Oil Painters. He was a war artist for the Australian Government 1914 - 1918 and spent three years in Papua painting and collecting curios which he described in his book `A Primitive Arcadia`. President of the London Sketch Club 1930. Artists` Resale Right ("droit de suite") may apply to this lot.

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Cato Jackview full entry

Reference: I Can Take It (The Autobiography of a photographer)
Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw.

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Cato Jack

Reference: I Can Take It (The Autobiography of a photographer)

Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw.

Location: 0

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Woodhouse Herbert Jview full entry

Reference: Wattle blossom : an Australian annual : for holiday readers, bush fireside and the home circle / by "Per Se" (Percy F. Sinnett) ; illustrated by Herbert J. Woodhouse
Publishing details: Adelaide : H.J. Woodhouse, [1881]
47 p., [8] leaves of plates : ill. ; 21 cm.
Ref: 1000

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Woodhouse Herbert J

Reference: Wattle blossom : an Australian annual : for holiday readers, bush fireside and the home circle / by "Per Se" (Percy F. Sinnett) ; illustrated by Herbert J. Woodhouse

Publishing details: Adelaide : H.J. Woodhouse, [1881]
47 p., [8] leaves of plates : ill. ; 21 cm.

Location: 1000

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Woodhouse Herbert Jview full entry

Reference: Southern sunbeams : an Australian annual for the field, the river and the home circle / by Chas. P. Williams ; profusely illustrated by Herbert J. Woodhouse
Publishing details: (Melbourne? : s.n.), 1879 printing
50 p., (12) leaves of ill. ; 22 cm.
Ref: 1000

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Woodhouse Herbert J

Reference: Southern sunbeams : an Australian annual for the field, the river and the home circle / by Chas. P. Williams ; profusely illustrated by Herbert J. Woodhouse

Publishing details: (Melbourne? : s.n.), 1879 printing
50 p., (12) leaves of ill. ; 22 cm.

Location: 1000

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Woodhouse Herbert Jview full entry

Reference: Hine-ra ; or, the Maori scout ; a romance of the New Zealand war / by Robt. P. Whitworth ; portrait of author, and five illustrations by Herbert J. Woodhouse
Publishing details: Melbourne : W. H. Williams, 1887.
[6], 132, [10] p. : ill. ; 22 cm.
Ref: 1000

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Woodhouse Herbert J

Reference: Hine-ra ; or, the Maori scout ; a romance of the New Zealand war / by Robt. P. Whitworth ; portrait of author, and five illustrations by Herbert J. Woodhouse

Publishing details: Melbourne : W. H. Williams, 1887.
[6], 132, [10] p. : ill. ; 22 cm.

Location: 1000

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Woodhouse Herbert Jview full entry

Reference: see Melbourne life : numerous beautiful full page illustrations by popular artists
Publishing details: Melbourne : Herbert Woodhouse, [ca. 1896]
[32] p. : ill., ports. ; 14 x 23 m.

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Woodhouse Herbert J

Reference: see Melbourne life : numerous beautiful full page illustrations by popular artists

Publishing details: Melbourne : Herbert Woodhouse, [ca. 1896]
[32] p. : ill., ports. ; 14 x 23 m.

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Woodhouse Herbert Jview full entry

Reference: To Mount Browne and back, or, Moses and me / by J.C.F. Johnson ; illustrated by H. J. Woodhouse and A. Esam
Publishing details: Adelaide : [s.n.], 1881
32 p., [8] leaves of plates : ill. ; 22 cm.
Ref: 1000

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Woodhouse Herbert J

Reference: To Mount Browne and back, or, Moses and me / by J.C.F. Johnson ; illustrated by H. J. Woodhouse and A. Esam

Publishing details: Adelaide : [s.n.], 1881
32 p., [8] leaves of plates : ill. ; 22 cm.

Location: 1000

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Esam Arthurview full entry

Reference: see Woodhouse H J - To Mount Browne and back, or, Moses and me / by J.C.F. Johnson ; illustrated by H. J. Woodhouse and A. Esam
Publishing details: Adelaide : [s.n.], 1881
32 p., [8] leaves of plates : ill. ; 22 cm.

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Esam Arthur

Reference: see Woodhouse H J - To Mount Browne and back, or, Moses and me / by J.C.F. Johnson ; illustrated by H. J. Woodhouse and A. Esam

Publishing details: Adelaide : [s.n.], 1881
32 p., [8] leaves of plates : ill. ; 22 cm.

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Woodhouse Herbert Jview full entry

Reference: in State Library of NSW:
In SLNSW:
Woodhouse, Herbert J.
[Collection of drawings by Herbert J. Woodhouse]
ca. 1875
PXE 657
Drawings : 8 wash drawings ; 1 watercolour drawing ; 6 pencil drawings on 13 sheets ; 42.3 x 30 cm largest ; 19.2 x 13.6 cm smallest
Contents
1. Peter Potters' Bull
2. The Blue Boy -- "HJ Woodhouse 1875" lower left [copy of Thomas Gainsborough portrait]
3. Gameseller -- "HJW" lower left
4. Gamesellers
5. [Two hunters and a retriever dog] -- "HJW" lower left
6. [Unidentified landscape]
7. [Unidentified landscape]
7v. [Portrait sketch of a woman]
8. McQuarie Harbor H.J.W./75 Sydney
9. Piermons & Balmain Points ; Head of Woollomooloo Harbour ; Oak walk in the Domain ; Lady Macquarie's chair -- "HJW 1874" at lower right. Four vignettes on single sheet. Titled underneath "Sketches round Sydney"
10. On Ovens River near Wangaratta -- titled on reverse
11. [Bush horseman ; couple in a gig in town]
11v. [Horse]
12. Bush Hawker -- "HJW" lower right
13. The settlers first meeting with Buckley -- "HJ Woodhouse" lower left
Source
Presented under Taxation Incentive for the Arts Scheme, 1993
Signatures / Inscriptions
Seven of the drawings are signed or initialled
General Note
Two drawings are dated 1875, one 1874
For notes about H.J. Woodhouse see Australian Colonial sporting painters : Frederick Woodhouse and sons / Colin Laverty. Sydney : David Ell Press, 1980.

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Woodhouse Herbert J

Reference: in State Library of NSW:
In SLNSW:
Woodhouse, Herbert J.
[Collection of drawings by Herbert J. Woodhouse]
ca. 1875
PXE 657
Drawings : 8 wash drawings ; 1 watercolour drawing ; 6 pencil drawings on 13 sheets ; 42.3 x 30 cm largest ; 19.2 x 13.6 cm smallest
Contents
1. Peter Potters' Bull
2. The Blue Boy -- "HJ Woodhouse 1875" lower left [copy of Thomas Gainsborough portrait]
3. Gameseller -- "HJW" lower left
4. Gamesellers
5. [Two hunters and a retriever dog] -- "HJW" lower left
6. [Unidentified landscape]
7. [Unidentified landscape]
7v. [Portrait sketch of a woman]
8. McQuarie Harbor H.J.W./75 Sydney
9. Piermons & Balmain Points ; Head of Woollomooloo Harbour ; Oak walk in the Domain ; Lady Macquarie's chair -- "HJW 1874" at lower right. Four vignettes on single sheet. Titled underneath "Sketches round Sydney"
10. On Ovens River near Wangaratta -- titled on reverse
11. [Bush horseman ; couple in a gig in town]
11v. [Horse]
12. Bush Hawker -- "HJW" lower right
13. The settlers first meeting with Buckley -- "HJ Woodhouse" lower left
Source
Presented under Taxation Incentive for the Arts Scheme, 1993
Signatures / Inscriptions
Seven of the drawings are signed or initialled
General Note
Two drawings are dated 1875, one 1874
For notes about H.J. Woodhouse see Australian Colonial sporting painters : Frederick Woodhouse and sons / Colin Laverty. Sydney : David Ell Press, 1980.

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Silas Ellis 1883-1972view full entry

Reference: A Primitive Arcadia by Ellis Silas F.R.G.S., being the impressions of an artist in Papua. With 29 plates anmd numerous black and white illustrations. A map of Papua inside rear cover.
Publishing details: Little, Brown & Company, 1926, hc, no dw, 230pp. Front cover stained.

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Silas Ellis 1883-1972

Reference: A Primitive Arcadia by Ellis Silas F.R.G.S., being the impressions of an artist in Papua. With 29 plates anmd numerous black and white illustrations. A map of Papua inside rear cover.

Publishing details: Little, Brown & Company, 1926, hc, no dw, 230pp. Front cover stained.

Location: 0

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Grunstein Binemview full entry

Reference: Obituary from Sydney Morning Herald (the artist survived 14 concentration camps in WW2. Became member of Royal Art Society in 1968 and exhibited at the Holdsworth Gallery. Works held by Sydney Opera House).
Publishing details: 5 February, 2013, p14
Ref: 129

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Grunstein Binem

Reference: Obituary from Sydney Morning Herald (the artist survived 14 concentration camps in WW2. Became member of Royal Art Society in 1968 and exhibited at the Holdsworth Gallery. Works held by Sydney Opera House).

Publishing details: 5 February, 2013, p14

Location: 129

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Bishop Walter Follen view full entry

Reference: see Mossgreen auction catalogue 19 February, 2013, lot 657 for a large watercolour titled Hawthorn Blossom, Brownhill Creek, 1917. Catalogue includes biographical information.

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Bishop Walter Follen

Reference: see Mossgreen auction catalogue 19 February, 2013, lot 657 for a large watercolour titled Hawthorn Blossom, Brownhill Creek, 1917. Catalogue includes biographical information.

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Fletcher Henry Hview full entry

Reference: Henry S. Fletcher. Born in England in 1829. Fletcher lived in Australia from 1855 until sailing to San Francisco in 1868. While there, he worked as a pattern designer, taught drawing in the public schools, and painted floral still life's in his leisure. See Show translation options
Louis J. Dianni, LLC - 4th Annual Palm Beach Auction - Day 3 of 3
February 18, 2013 for numerous lots by Fletcher

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Fletcher Henry H

Reference: Henry S. Fletcher. Born in England in 1829. Fletcher lived in Australia from 1855 until sailing to San Francisco in 1868. While there, he worked as a pattern designer, taught drawing in the public schools, and painted floral still life's in his leisure. See Show translation options
Louis J. Dianni, LLC - 4th Annual Palm Beach Auction - Day 3 of 3
February 18, 2013 for numerous lots by Fletcher

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Clarke Mview full entry

Reference: see Hordern House (Sydney) online catalogue for ‘CLARKE, M.
The Wreck of 'The Hereward' Maroubra Bay, circa, 1898. Watercolour, 18.2 x 54 cms. mounted and framed.This watercolour is signed lower left, M Clarke and was painted as the clipper ship Hereward lay on its side wrecked at Maroubra Beach NSW.’

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The Wreck of 'The Hereward' Maroubra Beach, Sydney.
CLARKE, M.
circa 1898.
Watercolour, 18.2 x 54 cms. mounted and framed.
The Maroubra Beach shipwreck

This watercolour is signed lower left, M Clarke and was painted as the clipper ship Hereward lay on its side wrecked at Maroubra Beach. The Hereward had blown onto soft sand at the northern end of Maroubra Beach, luckily avoiding two rocky reefs. The crew of 25 was brought safely ashore, and a party of seamen made their way to the nearby Maroubra wool scouring works to make known the accident. 'The Hereward was a 1513 ton full rigged iron clipper built in Glasgow in 1877. It had a length of 254 feet, beam of 39 feet, and depth of 23 feet. The Hereward was a trader to the colonies making frequent trips from London to Sydney with general cargo. The fateful trip began in the Dutch East Indies port of Sourabaya, bound for Newcastle to load coal for South America.
On 5 May 1898 the Hereward was battling up the New South Wales coast in appalling weather, with wind velocities recorded up to 47 miles per hour. The Hereward was flung towards the shore by the winds, and with sails torn to shreds the captain, Captain Gore, was helpless to keep the vessel from the shore.
The ship was insured for 6000 pounds, and was sold a few months after being stranded for 550 pounds to a Mr Cowlishaw who bought the wreck for salvage. Despite several enthusiastic attempts to refloat her the Hereward ended up once more stranded on the beach, with the waves finally managing to break her in two on 9 December 1898.
The wreck of the Hereward lay on Maroubra Beach for many years and by 1937 the only visible signs of her was a triangular dorsel fin above the water line. In 1950 Randwick Council feared injury to surfers from the wreck and began blasting the remnants. Further blasting in 1965, and by Navy divers in 1966/7 has removed all trace of the Hereward.
As with other wrecks on this part of the coast, thousands of sightseers made the long trek to the then remote south of Sydney to view the wreck.' (Randwick City Council records).
The inscription on verso reads - This sketch of the Hereward wrecked on Maroubra Beach 1898.

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Clarke M

Reference: see Hordern House (Sydney) online catalogue for ‘CLARKE, M.
The Wreck of 'The Hereward' Maroubra Bay, circa, 1898. Watercolour, 18.2 x 54 cms. mounted and framed.This watercolour is signed lower left, M Clarke and was painted as the clipper ship Hereward lay on its side wrecked at Maroubra Beach NSW.’

*

The Wreck of 'The Hereward' Maroubra Beach, Sydney.
CLARKE, M.
circa 1898.
Watercolour, 18.2 x 54 cms. mounted and framed.
The Maroubra Beach shipwreck

This watercolour is signed lower left, M Clarke and was painted as the clipper ship Hereward lay on its side wrecked at Maroubra Beach. The Hereward had blown onto soft sand at the northern end of Maroubra Beach, luckily avoiding two rocky reefs. The crew of 25 was brought safely ashore, and a party of seamen made their way to the nearby Maroubra wool scouring works to make known the accident. 'The Hereward was a 1513 ton full rigged iron clipper built in Glasgow in 1877. It had a length of 254 feet, beam of 39 feet, and depth of 23 feet. The Hereward was a trader to the colonies making frequent trips from London to Sydney with general cargo. The fateful trip began in the Dutch East Indies port of Sourabaya, bound for Newcastle to load coal for South America.
On 5 May 1898 the Hereward was battling up the New South Wales coast in appalling weather, with wind velocities recorded up to 47 miles per hour. The Hereward was flung towards the shore by the winds, and with sails torn to shreds the captain, Captain Gore, was helpless to keep the vessel from the shore.
The ship was insured for 6000 pounds, and was sold a few months after being stranded for 550 pounds to a Mr Cowlishaw who bought the wreck for salvage. Despite several enthusiastic attempts to refloat her the Hereward ended up once more stranded on the beach, with the waves finally managing to break her in two on 9 December 1898.
The wreck of the Hereward lay on Maroubra Beach for many years and by 1937 the only visible signs of her was a triangular dorsel fin above the water line. In 1950 Randwick Council feared injury to surfers from the wreck and began blasting the remnants. Further blasting in 1965, and by Navy divers in 1966/7 has removed all trace of the Hereward.
As with other wrecks on this part of the coast, thousands of sightseers made the long trek to the then remote south of Sydney to view the wreck.' (Randwick City Council records).
The inscription on verso reads - This sketch of the Hereward wrecked on Maroubra Beach 1898.

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Borstel Reginal Arnold 1875-1922view full entry

Reference: see auction by Louis J. Dianni, LLC
4th Annual Palm Beach Auction - Day 3 of 3
February 18, 2013 | Sunrise, FL, USA View Map, Lot 1512. Artist Biography: Reginald Arnold Borstel was born in Newtown, Sydney, Australia in 1875, the son of a master mariner. In his early years he was himself a sailor, serving for a time as chief mate aboard the full-rigged ship RABOETEL. Later he became one of several artists employed by the Adelaide Photo Company of Sydney to work from photographs of ships and create oil paintings showing them in brisk winds and white capped seas. Borstel worked on his own in later years and is recognized as one of the last Australian marine artists to be commissioned directly by ship captains and owners to document the last days of the great age of sail. He successfully bridged the gap from sail to steam, but most often he painted the last surviving windjammers, the great steel barques and barkentines engaged in the waning pacific trade. From his studio on King Street in Newtown, R.A. Borstel produced numerous ship portraits that became post cards, advertisements and sailing posters. Although little is known of his personal life, he left the world a strong legacy of ship portraiture before his death at age 46 in 1922. Most of Borstel's work resides in private collections throughout the world.
Meta: Painting,Nautical, Maritime,Marine.

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Borstel Reginal Arnold 1875-1922

Reference: see auction by Louis J. Dianni, LLC
4th Annual Palm Beach Auction - Day 3 of 3
February 18, 2013 | Sunrise, FL, USA View Map, Lot 1512. Artist Biography: Reginald Arnold Borstel was born in Newtown, Sydney, Australia in 1875, the son of a master mariner. In his early years he was himself a sailor, serving for a time as chief mate aboard the full-rigged ship RABOETEL. Later he became one of several artists employed by the Adelaide Photo Company of Sydney to work from photographs of ships and create oil paintings showing them in brisk winds and white capped seas. Borstel worked on his own in later years and is recognized as one of the last Australian marine artists to be commissioned directly by ship captains and owners to document the last days of the great age of sail. He successfully bridged the gap from sail to steam, but most often he painted the last surviving windjammers, the great steel barques and barkentines engaged in the waning pacific trade. From his studio on King Street in Newtown, R.A. Borstel produced numerous ship portraits that became post cards, advertisements and sailing posters. Although little is known of his personal life, he left the world a strong legacy of ship portraiture before his death at age 46 in 1922. Most of Borstel's work resides in private collections throughout the world.
Meta: Painting,Nautical, Maritime,Marine.

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Prout John Skinnerview full entry

Reference: Views of Melbourne and Geelong
Publishing details: 6 plates, 1847
Ref: 1000

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Prout John Skinner

Reference: Views of Melbourne and Geelong

Publishing details: 6 plates, 1847

Location: 1000

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Go Figureview full entry

Reference: Go Figure
Publishing details: National Portrait Gallery,
Ref: 1000

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Go Figure

Reference: Go Figure

Publishing details: National Portrait Gallery,

Location: 1000

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Mueck Ronview full entry

Reference: Ron Mueck by David Hurlston and Lisa Baldissera, Nicholas Chambers, James Fox, Kelly Gellatly, Ted Gott, Susanah Greeves.Philip Long, Angus Trumble and others [’Using fibreglass resin as his preferred material, Mueck creates what's known as 'hyperrealist' human sculptures, astonishing human-like creations, both gigantic and miniature in scale. His work is now firmly on the international stage where he continues to surprise, shock, delight and inspire of figurative sculpture.’]
Publishing details: NGV, 2010, pb, 190pp, this copy ex AGNSW Library

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Mueck Ron

Reference: Ron Mueck by David Hurlston and Lisa Baldissera, Nicholas Chambers, James Fox, Kelly Gellatly, Ted Gott, Susanah Greeves.Philip Long, Angus Trumble and others [’Using fibreglass resin as his preferred material, Mueck creates what's known as 'hyperrealist' human sculptures, astonishing human-like creations, both gigantic and miniature in scale. His work is now firmly on the international stage where he continues to surprise, shock, delight and inspire of figurative sculpture.’]

Publishing details: NGV, 2010, pb, 190pp, this copy ex AGNSW Library

Location: 0

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Mueck Ronview full entry

Reference: Ron Mueck by Heiner Bastian,
Publishing details: Hatje Cantz, 2005. Hardback.
Ref: 1000

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Mueck Ron

Reference: Ron Mueck by Heiner Bastian,

Publishing details: Hatje Cantz, 2005. Hardback.

Location: 1000

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Mueck Ronview full entry

Reference: Ron Mueck by Keith Hartley.

[’“Ron Mueck’s sculptures are all of the human figure, some smaller than life-size, some larger. They portray us, members of the human race, as we progress from birth towards death: as babies, children, adolescents, adults, and as old people. He shocks us into reassessing ourselves in our existential nakedness with the uncanny realism of his figures. This short book, written by Keith Hartley, examines the psychological impact that Mueck’s sculptures have on their viewers and illustrates all the new works that Mueck has made over the last couple of years.” – cover
“Published by the Trustees of the National Galleries of Scotland 2006 for the exhibition: Ron Mueck, held at the Royal Scottish Academy Building, Edinburgh from 5 August to 1 October” – colophon.
‘]
Publishing details: National Galleries of Scotland, 2006. Paperback.
Ref: 1000

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Mueck Ron

Reference: Ron Mueck by Keith Hartley.

[’“Ron Mueck’s sculptures are all of the human figure, some smaller than life-size, some larger. They portray us, members of the human race, as we progress from birth towards death: as babies, children, adolescents, adults, and as old people. He shocks us into reassessing ourselves in our existential nakedness with the uncanny realism of his figures. This short book, written by Keith Hartley, examines the psychological impact that Mueck’s sculptures have on their viewers and illustrates all the new works that Mueck has made over the last couple of years.” – cover
“Published by the Trustees of the National Galleries of Scotland 2006 for the exhibition: Ron Mueck, held at the Royal Scottish Academy Building, Edinburgh from 5 August to 1 October” – colophon.
‘]

Publishing details: National Galleries of Scotland, 2006. Paperback.

Location: 1000

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Gregson Flanagan auctionview full entry

Reference: Summer 2012 Art Auction, Perth
Publishing details: 2012
Ref: 110

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Gregson Flanagan auction

Reference: Summer 2012 Art Auction, Perth

Publishing details: 2012

Location: 110

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Ateier Paris: The Power Studioview full entry

Reference: exhibition curated by Ann Stephen at University Art Gallery, University of Sydney. artists: Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Scwenson. Catalogue provides information about the studio.
Publishing details: University Art Gallery, University of Sydney, 2013, 16pp
Ref: 129

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Ateier Paris: The Power Studio

Reference: exhibition curated by Ann Stephen at University Art Gallery, University of Sydney. artists: Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Scwenson. Catalogue provides information about the studio.

Publishing details: University Art Gallery, University of Sydney, 2013, 16pp

Location: 129

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Bartlett Geoffreyview full entry

Reference: Geoff Bartlett by David Hurlston and Kenneth Wach
Publishing details: NGV, 2007, pb, 80pp, his copy ex AGNSW Library

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Bartlett Geoffrey

Reference: Geoff Bartlett by David Hurlston and Kenneth Wach

Publishing details: NGV, 2007, pb, 80pp, his copy ex AGNSW Library

Location: 0

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Bartlett Geoffreyview full entry

Reference: Geoffrey Bartlett: Volume & Sensuality by Elena Taylor & John Buckley (texts) [’This exhibition featured the work that Bartlett did after he returned from Europe. They focus on the details and material elements of art’]
Publishing details: Drill Hall Gallery, Canberra 2004, 2004, signed by the artist, his copy ex AGNSW Library

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Bartlett Geoffrey

Reference: Geoffrey Bartlett: Volume & Sensuality by Elena Taylor & John Buckley (texts) [’This exhibition featured the work that Bartlett did after he returned from Europe. They focus on the details and material elements of art’]

Publishing details: Drill Hall Gallery, Canberra 2004, 2004, signed by the artist, his copy ex AGNSW Library

Location: 0

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Bartlett Geoffreyview full entry

Reference: Silver Cloud by Caroline Field & Ken Wach (text) Geoffrey Bartlett (sculpture)
Publishing details: Stonington Stables Museum Of Art, Melbourne 2001, 60pp, colour illusts, paperback, his copy ex AGNSW Library

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Bartlett Geoffrey

Reference: Silver Cloud by Caroline Field & Ken Wach (text) Geoffrey Bartlett (sculpture)

Publishing details: Stonington Stables Museum Of Art, Melbourne 2001, 60pp, colour illusts, paperback, his copy ex AGNSW Library

Location: 0

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Kelly Johnview full entry

Reference: John Kelly - Australian Cultural Product. Well illustrated, biographical information
Publishing details: Niagara Galleries and Liverpool Street Galleries, 2005,
Ref: 219

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Kelly John

Reference: John Kelly - Australian Cultural Product. Well illustrated, biographical information

Publishing details: Niagara Galleries and Liverpool Street Galleries, 2005,

Location: 219

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Nolan Sidneyview full entry

Reference: Rudy Komon Gallery, 1981, 15 works listed, Introduction by Elwyn Lynn
Publishing details: Rudy Komon, 1981, 4pp
Ref: 106

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Nolan Sidney

Reference: Rudy Komon Gallery, 1981, 15 works listed, Introduction by Elwyn Lynn

Publishing details: Rudy Komon, 1981, 4pp

Location: 106

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Nolan Sidneyview full entry

Reference: Rudy Komon Gallery, 1980, 28 works listed,
Publishing details: Rudy Komon, 1980, 4pp
Ref: 106

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Nolan Sidney

Reference: Rudy Komon Gallery, 1980, 28 works listed,

Publishing details: Rudy Komon, 1980, 4pp

Location: 106

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Laing Rosemaryview full entry

Reference: Unquiet Landcapes of Rosemary Laing - Accompanied the exhibition of the same name; Includes essays by Abigail Solomon-Godeau and Vivienne Webb, as well as biographical information about the artist. Profusely illustrated in colour.
Publishing details: Museum of Contemporary Art, Sydney, 2005
Color illus. wraps; 79 pp.;

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Laing Rosemary

Reference: Unquiet Landcapes of Rosemary Laing - Accompanied the exhibition of the same name; Includes essays by Abigail Solomon-Godeau and Vivienne Webb, as well as biographical information about the artist. Profusely illustrated in colour.

Publishing details: Museum of Contemporary Art, Sydney, 2005
Color illus. wraps; 79 pp.;

Location: 0

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Elliott Stuartview full entry

Reference: Fakeology - The Work of Stuart Elliott 1964-2004 by David Bromfield[ Born in Midland, Western Australia, Stuart Elliott studied Fine Art at Claremont School of Art and Curtin University.
Elliott has had 16 solo exhibitions and numerous group shows - including 'Silver' (PICA, 2008), 'Cross Currents' (Museum of Contemporary Art, 2007), 'Perspecta' (S.H. Irvin Gallery, 1997), 'Bravo 469' (Singapore National Museum, 1992), 'First Sculpture Triennial' (National Gallery of Victoria, 1984) and numerous 'Surveys' and related events. His work is represented in most major collections in Western Australia, including the Art Gallery of WA.
Stuart Elliott has lectured at a number of institutions (currently at Swan College), curated, undertaken art residencies, conducted major public and private commissions.
A major monograph about his work written by Dr David Bromfield, was published in 2004 under the title ¨Fakeology: The Work of Stuart Elliott 1964 -2004¨.
While originally known as a sculptor, Elliott has tended to work in more open-ended ways in terms of material and format, experimenting with digital/photographic/collage and text-based works over the last 5 years as a means of investigating the core study of Fakeology].
Publishing details: David Bromfield, Brown Art Consultants, 2004, pb, 184pp, this copy ex AGNSW Library

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Elliott Stuart

Reference: Fakeology - The Work of Stuart Elliott 1964-2004 by David Bromfield[ Born in Midland, Western Australia, Stuart Elliott studied Fine Art at Claremont School of Art and Curtin University.
Elliott has had 16 solo exhibitions and numerous group shows - including 'Silver' (PICA, 2008), 'Cross Currents' (Museum of Contemporary Art, 2007), 'Perspecta' (S.H. Irvin Gallery, 1997), 'Bravo 469' (Singapore National Museum, 1992), 'First Sculpture Triennial' (National Gallery of Victoria, 1984) and numerous 'Surveys' and related events. His work is represented in most major collections in Western Australia, including the Art Gallery of WA.
Stuart Elliott has lectured at a number of institutions (currently at Swan College), curated, undertaken art residencies, conducted major public and private commissions.
A major monograph about his work written by Dr David Bromfield, was published in 2004 under the title ¨Fakeology: The Work of Stuart Elliott 1964 -2004¨.
While originally known as a sculptor, Elliott has tended to work in more open-ended ways in terms of material and format, experimenting with digital/photographic/collage and text-based works over the last 5 years as a means of investigating the core study of Fakeology].

Publishing details: David Bromfield, Brown Art Consultants, 2004, pb, 184pp, this copy ex AGNSW Library

Location: 0

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Kings of the Road - Currency Lads & Flash Covesview full entry

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)
Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

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Kings of the Road - Currency Lads & Flash Coves

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)

Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

Location: 0

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bushrangersview full entry

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)
Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

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bushrangers

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)

Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

Location:

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Marony P W - several major works illustrated, c1890sview full entry

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)
Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

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Marony P W - several major works illustrated, c1890s

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)

Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

Location:

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Cubitt F p8 (engraving)view full entry

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)
Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

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Cubitt F p8 (engraving)

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)

Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

Location:

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Marony William - several major works illustrated c1890sview full entry

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)
Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

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Marony William - several major works illustrated c1890s

Reference: see Kings of the Road - Currency Lads & Flash Coves by Geoff Hocking [covers bushrangers, sons of convict parents, etc)

Publishing details: Moondrake, 2004,laminated boards, 32pp, his copy ex AGNSW Library

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Adams Tateview full entry

Reference: Tate Adams by Frances Thomson and Jenny Zimmer
Publishing details: Macmillan Mini Art Series, 2010, hc, dw, 144pp

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Adams Tate

Reference: Tate Adams by Frances Thomson and Jenny Zimmer

Publishing details: Macmillan Mini Art Series, 2010, hc, dw, 144pp

Location: 0

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Pavlidis Jimview full entry

Reference: Jim Pavlidis (Macmillan Mini Art)
Megan Backhouse [During a visit to Greece artist Jim Pavlidis and writer Megan Backhouse decided to explore in words and images the ambivalence of Greeks who migrated to Australia between 1954 and 1990, with some deciding to return permanently to their homeland. Interviews reveal that these people returned because they always intended to do so, or because they craved the simplicity of village or island life. However, they always missed the lifestyle of where they were not! These stories succinctly encapsulate the universal human experience of migration. Jim Pavlidis's sensitive portraits of these people, appear alongside their stories.]
Publishing details: Macmillan Mini Art Series,
Ref: 1000

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Pavlidis Jim

Reference: Jim Pavlidis (Macmillan Mini Art)
Megan Backhouse [During a visit to Greece artist Jim Pavlidis and writer Megan Backhouse decided to explore in words and images the ambivalence of Greeks who migrated to Australia between 1954 and 1990, with some deciding to return permanently to their homeland. Interviews reveal that these people returned because they always intended to do so, or because they craved the simplicity of village or island life. However, they always missed the lifestyle of where they were not! These stories succinctly encapsulate the universal human experience of migration. Jim Pavlidis's sensitive portraits of these people, appear alongside their stories.]

Publishing details: Macmillan Mini Art Series,

Location: 1000

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Lister Anthonyview full entry

Reference: Anthony Lister (Macmillan Mini Art)
Ken McGregor and Jenny Zimmer
Publishing details: Macmillan Mini Art Series, 2010, 144pp
Ref: 1000

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Lister Anthony

Reference: Anthony Lister (Macmillan Mini Art)
Ken McGregor and Jenny Zimmer

Publishing details: Macmillan Mini Art Series, 2010, 144pp

Location: 1000

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Cullen Adamview full entry

Reference: Adam Cullen (Macmillan Mini Art)
Ken McGregor
Publishing details: Macmillan Mini Art Series,
Ref: 1000

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Cullen Adam

Reference: Adam Cullen (Macmillan Mini Art)
Ken McGregor

Publishing details: Macmillan Mini Art Series,

Location: 1000

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Jacks Robertview full entry

Reference: Robert Jacks (Macmillan Mini Art)
Ken McGregor


Publishing details: Macmillan Mini Art Series,
Ref: 1000

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Jacks Robert

Reference: Robert Jacks (Macmillan Mini Art)
Ken McGregor

Publishing details: Macmillan Mini Art Series,

Location: 1000

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Quilty Benview full entry

Reference: Ben Quilty (Macmillan Mini Art)
Ken McGregor and Jenny Zimmerr


Publishing details: Macmillan Mini Art Series,
Ref: 1000

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Quilty Ben

Reference: Ben Quilty (Macmillan Mini Art)
Ken McGregor and Jenny Zimmerr

Publishing details: Macmillan Mini Art Series,

Location: 1000

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Tjapaltjarri Bill Whiskeyview full entry

Reference: Bill Whiskey Tjapaltjarri (Macmillan Mini Art)
Ken McGregor

Publishing details: Macmillan Mini Art Series,
Ref: 1000

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Tjapaltjarri Bill Whiskey

Reference: Bill Whiskey Tjapaltjarri (Macmillan Mini Art)
Ken McGregor

Publishing details: Macmillan Mini Art Series,

Location: 1000

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Harper Melindaview full entry

Reference: Melinda Harper (Macmillan Mini Art)
Ken McGregor
Publishing details: Macmillan Mini Art Series,
Ref: 1000

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Harper Melinda

Reference: Melinda Harper (Macmillan Mini Art)
Ken McGregor

Publishing details: Macmillan Mini Art Series,

Location: 1000

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Blackman Charlesview full entry

Reference: Charles Blackman (Macmillan Mini Art)
Ken McGregor


Publishing details: Macmillan Mini Art Series,
Ref: 1000

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Blackman Charles

Reference: Charles Blackman (Macmillan Mini Art)
Ken McGregor

Publishing details: Macmillan Mini Art Series,

Location: 1000

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AES + F: The Revolution Starts Nowview full entry

Reference: AES + F: The Revolution Starts Now - University of Queensland Art Museum exhibition catalogue (Russian artist collective)
Publishing details: University of Queensland Art Museum , 2010, card covers, 94pp
Ref: 220

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AES + F: The Revolution Starts Now

Reference: AES + F: The Revolution Starts Now - University of Queensland Art Museum exhibition catalogue (Russian artist collective)

Publishing details: University of Queensland Art Museum , 2010, card covers, 94pp

Location: 220

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Veranda - Embracing Placeview full entry

Reference: Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Veranda - Embracing Place

Reference: Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location: 0

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Wilson W Hardy p71ffview full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Wilson W Hardy p71ff

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Fogg Sarah Ann p123view full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Fogg Sarah Ann p123

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Hinder Frank set for play Te Shifting Heart 1957view full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Hinder Frank set for play Te Shifting Heart 1957

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Salmon William - illustration p167view full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Salmon William - illustration p167

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Henry Lucien p200-1view full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Henry Lucien p200-1

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Kemp W E stonemason p202-3view full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Kemp W E stonemason p202-3

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Griffin Walter Burleigh p206view full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Griffin Walter Burleigh p206

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Griffin Marion Mahony p206view full entry

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]
Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

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Griffin Marion Mahony p206

Reference: see Veranda - Embracing Place by Philip Drew [includes about 100 pages on the Australian veranda]

Publishing details: Angus & Robertson, 1992, hc, dw, 246pp with index. This copy ex AGNSW Library.

Location:

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Nolan Sidneyview full entry

Reference: Exhibition of paintings of the Eureka Stockade. Sidney Nolan ... 8 June until ... 20 June, 1949. NOLAN, Sidney (1917-1992); A scarce catalogue listing sixty-six works from Nolan’s Eureka Stockade series, with printed prices.
Publishing details: Macquarie Galleries, Sydney.
Sydney : Macquarie Galleries, 1949. Single sheet, folded into 6 pp octavo.
Ref: 1000

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Nolan Sidney

Reference: Exhibition of paintings of the Eureka Stockade. Sidney Nolan ... 8 June until ... 20 June, 1949. NOLAN, Sidney (1917-1992); A scarce catalogue listing sixty-six works from Nolan’s Eureka Stockade series, with printed prices.

Publishing details: Macquarie Galleries, Sydney.
Sydney : Macquarie Galleries, 1949. Single sheet, folded into 6 pp octavo.

Location: 1000

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Barnard Edwardview full entry

Reference: Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Barnard Edward

Reference: Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location: 0

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panoramic photography in Australiaview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panoramic photography in Australia

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panoramasview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panoramas

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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photographyview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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photography

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Griffith Pamelaview full entry

Reference: Lord Howe Island Miniature Etchings
Publishing details: boxed set
Ref: 1000

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Griffith Pamela

Reference: Lord Howe Island Miniature Etchings

Publishing details: boxed set

Location: 1000

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Walters Wesview full entry

Reference: Wes Walters: Art of Realism & Abstraction by David Thomas. [Wes Walters is one of Australia’s most prominent and celebrated portrait artists. However, his image as a strict portrait artist should not preclude his other artistic talents – illustration, abstract landscapes, collage and commercial art. Wes Walters: Art of Realism & Abstraction is successful in illustrating the artistic genius of Wes Walters and highlighting all of his artistic talents – ‘commercial’ and ‘fine’.

David Thomas has provided an informative and fascinating insight into Wes Walters, which is accompanied by beautiful reproductions.] Notes Includes bibliography (p. 170-172) and index
Publishing details: Macmillan Art, c2009.,176 pages hardcover colour illustrations. Ex library copy.

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Walters Wes

Reference: Wes Walters: Art of Realism & Abstraction by David Thomas. [Wes Walters is one of Australia’s most prominent and celebrated portrait artists. However, his image as a strict portrait artist should not preclude his other artistic talents – illustration, abstract landscapes, collage and commercial art. Wes Walters: Art of Realism & Abstraction is successful in illustrating the artistic genius of Wes Walters and highlighting all of his artistic talents – ‘commercial’ and ‘fine’.

David Thomas has provided an informative and fascinating insight into Wes Walters, which is accompanied by beautiful reproductions.] Notes Includes bibliography (p. 170-172) and index

Publishing details: Macmillan Art, c2009.,176 pages hardcover colour illustrations. Ex library copy.

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Simpson Alisterview full entry

Reference: A Brush with Horses by Alister Simpson
[’This high-quality, exquisitely produced book is a celebration of the work of acclaimed equine artist Alister Simpson. Presenting a cross-section of his work, from sketches to watercolours and oils, it reveals the depth of his talent and the breadth of his style. Racehorses featured include Phar Lap, Makybe Diva, Brew, Mahogany, Octagonal and Sunline, to name just a few, while all the excitement of race day is also captured in scenes painted trackside. But Alister is not just at home on the racetrack. A Brush with Horses also includes artworks of mares and foals, horses galloping through streams and across fields, and on the polo field. This is a collection that will appeal to all who love this most noble of animals.

About the author

Alister Simpson has been recognised for three decades as the leading equine artist in Australia and is an invited participating member in the prestigious American Academy of Equine Art. His oil and watercolour paintings are keenly sought after and feature in collections throughout the world. He has received royal commissions for Queen Elizabeth II and also painted Sindabele, one of the late Queen Mother’s horses. Other commissions include: the Australian Jockey Club Australian Derby Winners since 1983; the Sydney Turf Club Golden Slipper Winners since 1987; the Victoria Racing Club Australia’s Champion Racehorse for nine years; as well as paintings for Gai Waterhouse, Alan Jones, Sir Patrick Hogan and Sheik Rashid bin Hamdan Al-Nahyan.


Publishing details: Exisle, 285 x 320mm | cased with jacket | 96pp
Ref: 1000

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Simpson Alister

Reference: A Brush with Horses by Alister Simpson
[’This high-quality, exquisitely produced book is a celebration of the work of acclaimed equine artist Alister Simpson. Presenting a cross-section of his work, from sketches to watercolours and oils, it reveals the depth of his talent and the breadth of his style. Racehorses featured include Phar Lap, Makybe Diva, Brew, Mahogany, Octagonal and Sunline, to name just a few, while all the excitement of race day is also captured in scenes painted trackside. But Alister is not just at home on the racetrack. A Brush with Horses also includes artworks of mares and foals, horses galloping through streams and across fields, and on the polo field. This is a collection that will appeal to all who love this most noble of animals.

About the author

Alister Simpson has been recognised for three decades as the leading equine artist in Australia and is an invited participating member in the prestigious American Academy of Equine Art. His oil and watercolour paintings are keenly sought after and feature in collections throughout the world. He has received royal commissions for Queen Elizabeth II and also painted Sindabele, one of the late Queen Mother’s horses. Other commissions include: the Australian Jockey Club Australian Derby Winners since 1983; the Sydney Turf Club Golden Slipper Winners since 1987; the Victoria Racing Club Australia’s Champion Racehorse for nine years; as well as paintings for Gai Waterhouse, Alan Jones, Sir Patrick Hogan and Sheik Rashid bin Hamdan Al-Nahyan.

Publishing details: Exisle, 285 x 320mm | cased with jacket | 96pp

Location: 1000

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Out of Australiaview full entry

Reference: Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Out of Australia

Reference: Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

Location: 0

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photographyview full entry

Reference: see Cato Jack - I Can Take It (The Autobiography of a photographer)
Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw in poor condition.

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photography

Reference: see Cato Jack - I Can Take It (The Autobiography of a photographer)

Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw in poor condition.

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Beattie John p28ffview full entry

Reference: see Cato Jack - I Can Take It (The Autobiography of a photographer)
Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw in poor condition.

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Beattie John p28ff

Reference: see Cato Jack - I Can Take It (The Autobiography of a photographer)

Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw in poor condition.

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Dechaineux Lucien p28ffview full entry

Reference: see Cato Jack - I Can Take It (The Autobiography of a photographer)
Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw in poor condition.

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Dechaineux Lucien p28ff

Reference: see Cato Jack - I Can Take It (The Autobiography of a photographer)

Publishing details: Georgian House, Melbourne. 1947. First printing., 1947. 8vo, 322pp. With many black and white illustrations. Hardback, dw in poor condition.

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Atelier Paris: The Power Studioview full entry

Reference: Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition
Publishing details: University Art Gallery, University of Sydney, 2013
Ref: 129

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Atelier Paris: The Power Studio

Reference: Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition

Publishing details: University Art Gallery, University of Sydney, 2013

Location: 129

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Donaldson A. D. S. view full entry

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition
Publishing details: University Art Gallery, University of Sydney, 2013

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Donaldson A. D. S.

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition

Publishing details: University Art Gallery, University of Sydney, 2013

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Campbell Barbara view full entry

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition
Publishing details: University Art Gallery, University of Sydney, 2013

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Campbell Barbara

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition

Publishing details: University Art Gallery, University of Sydney, 2013

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Gawronski Alexview full entry

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition
Publishing details: University Art Gallery, University of Sydney, 2013

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Gawronski Alex

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition

Publishing details: University Art Gallery, University of Sydney, 2013

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Nikou Michelle view full entry

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition
Publishing details: University Art Gallery, University of Sydney, 2013

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Nikou Michelle

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition

Publishing details: University Art Gallery, University of Sydney, 2013

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Schwenson Tony view full entry

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition
Publishing details: University Art Gallery, University of Sydney, 2013

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Schwenson Tony

Reference: see Atelier Paris: The Power Studio - Barbara Campbell, A. D. S. Donaldson, Alex Gawronski, Michelle Nikou, Tony Schwenson - curated by Ann Stephen. Has list of recipient artists 1967-2013 and details of the studio as well as brief essays on the artists in this exhibition

Publishing details: University Art Gallery, University of Sydney, 2013

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Tucker Albertview full entry

Reference: Albert Tucker - The Lucky Country, Selling Exhibition, Sotheby’s, Sydney, 11-23 March 2013. 16 exhibits 1956-87
Publishing details: Sotheby’s, Sydney, 11-23 March 2013. Price list inserted.

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Tucker Albert

Reference: Albert Tucker - The Lucky Country, Selling Exhibition, Sotheby’s, Sydney, 11-23 March 2013. 16 exhibits 1956-87

Publishing details: Sotheby’s, Sydney, 11-23 March 2013. Price list inserted.

Location: 0

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Australiana exhibition at Josef Lebovic Galleryview full entry

Reference: Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp
Ref: 57

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Australiana exhibition at Josef Lebovic Gallery

Reference: Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

Location: 57

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Read Richard Jnr portrait of Miss E Roberts 1830view full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Read Richard Jnr portrait of Miss E Roberts 1830

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Taylor R A ‘Coursing in Australia’view full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Taylor R A ‘Coursing in Australia’

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Davis Blanche B hand-painted platesview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Davis Blanche B hand-painted plates

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Weekes Ralph painting of HMAS Sydney 1915view full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Weekes Ralph painting of HMAS Sydney 1915

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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O’Shea Molly bookplateview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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O’Shea Molly bookplate

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Gray Alexander colour stencilsview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Gray Alexander colour stencils

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Moore May watercolour portraitview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Moore May watercolour portrait

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Kerr William silversmithview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Kerr William silversmith

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Jones E A wallpaper designview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Jones E A wallpaper design

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Culley F A folk artistview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Culley F A folk artist

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Manners Erna ceramicistview full entry

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161
Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Manners Erna ceramicist

Reference: see Australiana exhibition at Josef Lebovic Gallery. Collectors’ List n0. 161

Publishing details: Josef Lebovic Gallery, 2013, 28pp

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Capturing Time by Barnard Edwardview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Capturing Time by Barnard Edward

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Sydney 1820view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Sydney 1820

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Newcastle 1821view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Newcastle 1821

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Hobart 1825view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Hobart 1825

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Sydney 1827view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Sydney 1827

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - King George Sound 1832view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - King George Sound 1832

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Fremantle 1832view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Fremantle 1832

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Melbourne 1841view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Melbourne 1841

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Challicum 1852view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Challicum 1852

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Melbourne 1863view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Melbourne 1863

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Adelaide 1866view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Adelaide 1866

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Brisbane 1862view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Brisbane 1862

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Sydney 1880view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Sydney 1880

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Perth 1880view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Perth 1880

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Launceston 1890view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Launceston 1890

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Palmerston, Darwin, 1870-97view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Palmerston, Darwin, 1870-97

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Canberra 1911, 1920s & 1930sview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Canberra 1911, 1920s & 1930s

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama - Sydney, Katoomba and Newnes 1920s & 1930sview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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panorama - Sydney, Katoomba and Newnes 1920s & 1930s

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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panorama, cycloramas and Dioramas view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

×

panorama, cycloramas and Dioramas

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Close Lieutenant Edward - Newcastle panoramaview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Close Lieutenant Edward - Newcastle panorama

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Taylor James - Sydney panoramaview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Taylor James - Sydney panorama

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Earle Augustus - Hobart and Sydney panoramasview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Earle Augustus - Hobart and Sydney panoramas

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Earle Augustus - Hobart and Sydney panoramasview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Earle Augustus - Hobart and Sydney panoramas

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Dale Robert panorama King George Soundview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Dale Robert panorama King George Sound

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Currie Jane panorama Fremantleview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Currie Jane panorama Fremantle

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Jackson Samuel panorama Melbourneview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Jackson Samuel panorama Melbourne

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Cooper Duncan panorama Challicumview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Cooper Duncan panorama Challicum

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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DeGruchy and Leigh panorama Melbourneview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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DeGruchy and Leigh panorama Melbourne

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Duryea’s Townsend photographer panorama Adelaide view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Duryea’s Townsend photographer panorama Adelaide

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Maclure & Macdonald colour lithograph panorama Brisbaneview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Maclure & Macdonald colour lithograph panorama Brisbane

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Rogers Frederick photographer panorama Brisbaneview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Rogers Frederick photographer panorama Brisbane

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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International Exhibition Sydney 1879-80 lithographview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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International Exhibition Sydney 1879-80 lithograph

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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International Exhibition Sydney 1879-80 lithograph fireview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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International Exhibition Sydney 1879-80 lithograph fire

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Rusden Amelia 1834 p122view full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Rusden Amelia 1834 p122

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Spurling Stephen panorama Launcestonview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Spurling Stephen panorama Launceston

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

Location:

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Griffin Walter Burley Canberra panoramaview full entry

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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Griffin Walter Burley Canberra panorama

Reference: see Barnard Edward - Capturing Time: Panoramas of Old Australia by Edwin Barnard [’Panoramas, whether painted or photographed, were the nineteenth-century equivalent of IMAX or Google maps. These wide-angled views of landscapes and cities fascinated viewers, who had never before seen such far-reaching perspectives on the world around them. Based on the National Library of Australia’s extensive collections, Capturing Time: Panoramas of Old Australia looks back on our nation through the magic of panoramas—to the streets of Sydney when it was the convict capital, to the gold rushes of Melbourne and to Perth, struggling to establish a toehold on the continent’s western frontier. Dating from 1810 to the 1920s, the paintings and photographs include historic views of all of Australia’s capital cities, plus some country towns. Not only can readers imagine what it might have been like to stand on Sydney’s Observatory Hill in 1820, for example, but also what it would have been like to stand there with a companion able to point out landmarks and tell the sorts of interesting stories that only locals know.]

Publishing details: National Library of Australia, October 2012, 180pp, HB

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McGrath Raymond 1903-1977view full entry

Reference: Raymond McGrath, Josef Lebovic Gallery Collector’s List no 162. 49 exhibits, all illustrated with prices
Publishing details: Josef Lebovic Gallery , 2013, pb, 12pp
Ref: 57

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McGrath Raymond 1903-1977

Reference: Raymond McGrath, Josef Lebovic Gallery Collector’s List no 162. 49 exhibits, all illustrated with prices

Publishing details: Josef Lebovic Gallery , 2013, pb, 12pp

Location: 57

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Pinkus Luluview full entry

Reference: Transfiguration, invite with 3 illustrations
Publishing details: Arthouse Gallery, 2013
Ref: 219

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Pinkus Lulu

Reference: Transfiguration, invite with 3 illustrations

Publishing details: Arthouse Gallery, 2013

Location: 219

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Captivating & Curiousview full entry

Reference: Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Captivating & Curious

Reference: Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Cobb Victor anatomical drawingsview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Cobb Victor anatomical drawings

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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MacKenzie Colin collector portrait by W B McInnesview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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MacKenzie Colin collector portrait by W B McInnes

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Phar Lap’s heartview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Phar Lap’s heart

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Maroney Patrick Williamview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Maroney Patrick William

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Oscar (Aboriginal artist, c1890)view full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Oscar (Aboriginal artist, c1890)

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Aboriginal breastplatesview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Aboriginal breastplates

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Trade Union bannersview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Trade Union banners

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Chalcraft Patricia p66 folk artistview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Chalcraft Patricia p66 folk artist

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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children’s drawingsview full entry

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]
Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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children’s drawings

Reference: see Captivating & Curious - Celebrating the Collection of the National Museum of Australia. [’This collection gathered together over the last eighty years, tells the story of Australia. There is material representing Indigenous Australia, items associated with major events, specimens recording our relationship with the environment as well as ephemera of our lives’]

Publishing details: National Museum of Australia Press, 2005, card covers, 116pp, with index

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Australian Prints and drawingsview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Australian Prints and drawings

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Australian Prints and drawingsview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Australian Prints and drawings

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Allen Mickyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Allen Micky

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Amor Rickview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Amor Rick

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Baldessin Georgeview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Baldessin George

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Banggala Englandview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Banggala England

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Blackman Charlesview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Blackman Charles

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Bot G Wview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Bot G W

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Boyd Arthurview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Boyd Arthur

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Brack Johnview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Brack John

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Cherel Janangoo Butcherview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Cherel Janangoo Butcher

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Coburn Johnview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Coburn John

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Cole Robert Ambroseview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Cole Robert Ambrose

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Counihan Noelview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Counihan Noel

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Fabian Erwinview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Fabian Erwin

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Friedeberger Klausview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Friedeberger Klaus

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Gleeson Jamesview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Gleeson James

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Graham Peter Sview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Graham Peter S

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Hanrahan Barbaraview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Hanrahan Barbara

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Harris Brentview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Harris Brent

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Hester Joyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Hester Joy

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Mack Ludwig Hirschfeldview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Mack Ludwig Hirschfeld

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Mack Ludwig Hirschfeldview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

×

Mack Ludwig Hirschfeld

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Jacks Robertview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Jacks Robert

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Joseph Jenniferview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Joseph Jennifer

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kahan Louisview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kahan Louis

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kantilla Kittyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kantilla Kitty

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kemp Rogerview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kemp Roger

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kennedy Lucy Napaljarriview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Kennedy Lucy Napaljarri

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Klippel Robertview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Klippel Robert

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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McDiarmid Davidview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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McDiarmid David

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Lanceley Colinview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Lanceley Colin

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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McKenzie Queenieview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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McKenzie Queenie

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Maddock Beaview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Maddock Bea

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Marika Bandukview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Marika Banduk

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Mungatopi Maryanneview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Mungatopi Maryanne

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Murray Janiceview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Murray Janice

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Nadjamerrek Lofty Bardayalview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Nadjamerrek Lofty Bardayal

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Namponan Garryview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Namponan Garry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Napangardi Dorothy (aka Dorothy Napangardi Robinson)view full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Napangardi Dorothy (aka Dorothy Napangardi Robinson)

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Newmarch Annview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Newmarch Ann

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Nolan Sidneyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Nolan Sidney

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Parr Mikeview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Parr Mike

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Petyarre Gloria Tamerreview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Petyarre Gloria Tamerre

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Reed Sweenyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Reed Sweeny

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Senbergs Jan view full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Senbergs Jan

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Sims Paddy Japaljarriview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Sims Paddy Japaljarri

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Swallow Rickyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Swallow Ricky

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Thake Ericview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

×

Thake Eric

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Thomas Roverview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Thomas Rover

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Tomescu Aidaview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Tomescu Aida

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Tucker Albertview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Tucker Albert

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Tuckson Tonyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Tuckson Tony

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Walker Murrayview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

×

Walker Murray

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Warlapinni Fredaview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Warlapinni Freda

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Watkins Dickview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Watkins Dick

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Watson Judyview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Watson Judy

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Whisson Kenview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Whisson Ken

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Whiteley Brettview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Whiteley Brett

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Williams Fredview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Williams Fred

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Wilson Regina Pilawukview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Wilson Regina Pilawuk

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Wolseley Johnview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Wolseley John

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Wonaeamirra Pedroview full entry

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]
Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Wonaeamirra Pedro

Reference: see Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas (Paperback)
By Stephen Coppel, with a contribution by Wally Caruana on Aboriginal prints. Includes essays and bibliographies on approximately 60 artists. [’Follows the rise of a distinctive school of Australian art that first emerged in the 1940s. This book includes a substantial essay outlining the major developments in Australian art since the 1940s, the reception of Australian art in Britain and the rise of Aboriginal printmaking.’]

Publishing details: British Museum Press, published: 23 May 2011, paperback, 240 pages

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Behan Legacy Theview full entry

Reference: The Behan Legacy - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Behan Legacy The

Reference: The Behan Legacy - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Ashton Julianview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Ashton Julian

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Bell Georgeview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Bell George

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Boyd Penleighview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Boyd Penleigh

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Bunny Rupertview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Bunny Rupert

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Buvelot Louisview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Buvelot Louis

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Conder Charlesview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Conder Charles

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Dargie Williamview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Dargie William

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Davies Davidview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Davies David

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Dobell Williamview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Dobell William

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Feint Adrianview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Feint Adrian

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Fox E Phillipsview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Fox E Phillips

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Frater Williamview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Frater William

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Gibson Bessieview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Gibson Bessie

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Gill S Tview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Gill S T

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Glover Johnview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Glover John

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Gruner Eliothview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Gruner Elioth

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Hampson Catharinaview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Hampson Catharina

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Heysen Hansview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Heysen Hans

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Hilder J Jview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Hilder J J

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Hoff Raynerview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Hoff Rayner

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Kmit Michaelview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Kmit Michael

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lambert George Wview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lambert George W

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lambert Mauriceview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lambert Maurice

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lawrence Georgeview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lawrence George

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lindsay Lionelview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Lindsay Lionel

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Long Sydneyview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Long Sydney

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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McCubbin Frederickview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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McCubbin Frederick

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Longstaff Johnview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Longstaff John

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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McInnes W Bview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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McInnes W B

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Martens Conradview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Martens Conrad

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Mather Johnview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Mather John

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Meldrum Maxview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Meldrum Max

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Murch Arthurview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Murch Arthur

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Molvig Jonview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Molvig Jon

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Nerli Girolamoview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Nerli Girolamo

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Newbury A Eview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Newbury A E

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Parker Haroldview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Parker Harold

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Pendelbury Scottview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Pendelbury Scott

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Piguenit W Cview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Piguenit W C

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Power Septimusview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Power Septimus

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Prout John Skinnerview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Prout John Skinner

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Quinn Jamesview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Quinn James

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Read Arthur Evanview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Read Arthur Evan

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Rees Lloydview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Rees Lloyd

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Roberts Tomview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Roberts Tom

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Russell John Peterview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Russell John Peter

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Shillam Leonardview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Shillam Leonard

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Streeton Arthurview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Streeton Arthur

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Wainewright Thomas Griffithsview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Wainewright Thomas Griffiths

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Wakelin Rolandview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Wakelin Roland

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Withers Walterview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Withers Walter

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Young Blamireview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Young Blamire

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Young Blamireview full entry

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.
Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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Young Blamire

Reference: see Behan Legacy The - The Stuartholme-Behan Collection of Australian Art. Exhibition catalogue. Includes 11 essays on Australian art. Incudes brief biographies and bibliographies on artists.

Publishing details: University of Queensland Art Collection, 2010, card covers, 164pp,

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To Look Within - Self Portraits in Australia view full entry

Reference: To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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To Look Within - Self Portraits in Australia

Reference: To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Christison Mary self portrait c1870s with brief biography view full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Christison Mary self portrait c1870s with brief biography

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Duterrau Benjamin self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Duterrau Benjamin self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Walker Theresa self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Walker Theresa self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Ironside Adelaide self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Ironside Adelaide self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Angas George French self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Angas George French self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Earle Augustus self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Earle Augustus self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Ramsay Hugh self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Ramsay Hugh self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Lambert George W self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Lambert George W self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Preston Margaret self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Preston Margaret self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Streeton Arthur self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Streeton Arthur self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Roberts Tom self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Roberts Tom self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Whiteley Brett self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Whiteley Brett self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Robinson William self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Robinson William self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Dobell William self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Dobell William self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Heysen Nora self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Heysen Nora self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Bowan Stella self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Bowan Stella self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Williams Fred self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Williams Fred self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Nolan Sidney self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Nolan Sidney self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Thake Eric self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Thake Eric self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Bennett Gordon self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Bennett Gordon self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Smart Jeffrey self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Smart Jeffrey self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Parr Mike self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Parr Mike self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Hope Laurence self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Hope Laurence self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Allen Davida self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Allen Davida self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Olley Margaret self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Olley Margaret self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Crooke Ray self portraitview full entry

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.
Publishing details: University of Queensland, 2004, pb, 40pp

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Crooke Ray self portrait

Reference: see To Look Within - Self Portraits in Australia,. exhibition catalogue, James and Mary Emelia Mayne Centre, University of Queensland, Essay on ‘the artist’s self portrait in australia’ by Andrew Sayers. Aproximately 30 artists’ self portraits exhibited and illustrated in catalogue.

Publishing details: University of Queensland, 2004, pb, 40pp

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Hilder J Jview full entry

Reference: see Look Magazine March 2013 for essay by Hendrik Kolenberg on purchase of Hilder’s ‘Deviation Work’ c1913 ‘a modern Australian materpiece enters the collection’
Publishing details: AGNSW, 2013

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Hilder J J

Reference: see Look Magazine March 2013 for essay by Hendrik Kolenberg on purchase of Hilder’s ‘Deviation Work’ c1913 ‘a modern Australian materpiece enters the collection’

Publishing details: AGNSW, 2013

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Wakelin Rolandview full entry

Reference: see Look Magazine March 2013 for essay by Paula Dredge on restoration of Down the Hill’s to Berry’s Bay
Publishing details: AGNSW, 2013

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Wakelin Roland

Reference: see Look Magazine March 2013 for essay by Paula Dredge on restoration of Down the Hill’s to Berry’s Bay

Publishing details: AGNSW, 2013

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Walters Mariilynview full entry

Reference: First Principle. Exhibition invite, 2008, 5 illustrations in colour, artist’s statement about work
Publishing details: Studio 13, Russell Lea, 2008
Ref: 219

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Walters Mariilyn

Reference: First Principle. Exhibition invite, 2008, 5 illustrations in colour, artist’s statement about work

Publishing details: Studio 13, Russell Lea, 2008

Location: 219

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Marshall Jenniferview full entry

Reference: Beach Comber, artist Jennifer Marshall and curator Akky Van Ogtrop in conversation
Publishing details: Manly Art Gallery and Museum, 2012, 6-page fold-out card, 9 illustrations
Ref: 129

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Marshall Jennifer

Reference: Beach Comber, artist Jennifer Marshall and curator Akky Van Ogtrop in conversation

Publishing details: Manly Art Gallery and Museum, 2012, 6-page fold-out card, 9 illustrations

Location: 129

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Kentwell Daleview full entry

Reference: Mum... speaking Latin with a singlet tan
Publishing details: Manly Art Gallery and Museum, 2007, 6-page fold-out card,22 illustrations
Ref: 129

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Kentwell Dale

Reference: Mum... speaking Latin with a singlet tan

Publishing details: Manly Art Gallery and Museum, 2007, 6-page fold-out card,22 illustrations

Location: 129

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Thalben-Ball Pamelaview full entry

Reference: Pamela Thalben-Ball - a colourful life
Publishing details: Manly Art Gallery and Museum, 2007, 6-page fold-out card,8 illustrations
Ref: 129

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Thalben-Ball Pamela

Reference: Pamela Thalben-Ball - a colourful life

Publishing details: Manly Art Gallery and Museum, 2007, 6-page fold-out card,8 illustrations

Location: 129

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McFarlane Robertview full entry

Reference: Robert McFarlane - Received Moments - photography 1961 - 2009 [catalogue for travelling exhibition]
Publishing details: Manly Art Gallery and Museum, 2010, 68p, illustrated
Ref: 129

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McFarlane Robert

Reference: Robert McFarlane - Received Moments - photography 1961 - 2009 [catalogue for travelling exhibition]

Publishing details: Manly Art Gallery and Museum, 2010, 68p, illustrated

Location: 129

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Ollis Bernardview full entry

Reference: Modern Living - Bernard Ollis, exhibition catalogue, essay by Alex Sutcliffe
Publishing details: Manly Art Gallery and Museum, 2012, 35 pp, well illustrated
Ref: 129

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Ollis Bernard

Reference: Modern Living - Bernard Ollis, exhibition catalogue, essay by Alex Sutcliffe

Publishing details: Manly Art Gallery and Museum, 2012, 35 pp, well illustrated

Location: 129

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Eustace Alfred William view full entry

Reference: see Australiana Magazine, February 2013, vol 35, no 1 for advertisement by Simpson Antiques showing example of gumleaf painting and framing etc.

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Eustace Alfred William

Reference: see Australiana Magazine, February 2013, vol 35, no 1 for advertisement by Simpson Antiques showing example of gumleaf painting and framing etc.

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Cayley Alice Rochfortview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II

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Cayley Alice Rochfort

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II

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Cayley Nevilleview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II

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Cayley Neville

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II

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Cayley Nevilleview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II

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Cayley Neville

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II

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Cayley family of bird paintersview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II. See also Australiana Magazine Nov 2012, vol 34, no 4, article on Alice Rochfort Cayley and John Castle Harris - the article is second part, the first part is in previous edition. Covers whole Cayley family, Is 16 pages with illustrations.

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Cayley family of bird painters

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II. See also Australiana Magazine Nov 2012, vol 34, no 4, article on Alice Rochfort Cayley and John Castle Harris - the article is second part, the first part is in previous edition. Covers whole Cayley family, Is 16 pages with illustrations.

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Harris John Castleview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II. See also Australiana Magazine Nov 2012, vol 34, no 4, article on Alice Rochfort Cayley and John Castle Harris - the article is second part, the first part is in previous edition. Covers whole Cayley family, Is 16 pages with illustrations.

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Harris John Castle

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on Alice Rochfort Cayley and John Castle Harris, part II. See also Australiana Magazine Nov 2012, vol 34, no 4, article on Alice Rochfort Cayley and John Castle Harris - the article is second part, the first part is in previous edition. Covers whole Cayley family, Is 16 pages with illustrations.

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Somme Louis medalist etcview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on ‘Louis Somme - an intriguing migrant craftsman’

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Somme Louis medalist etc

Reference: see Australiana Magazine February 2013 vol 35, no 1, article on ‘Louis Somme - an intriguing migrant craftsman’

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Qwist Christian Ludwig jewellerview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1,

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Qwist Christian Ludwig jeweller

Reference: see Australiana Magazine February 2013 vol 35, no 1,

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Frith Henry Albert photographerview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article by Jane Lennon on three versions of Frith’s photographic portrait ‘The Last of the Tasmanians’

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Frith Henry Albert photographer

Reference: see Australiana Magazine February 2013 vol 35, no 1, article by Jane Lennon on three versions of Frith’s photographic portrait ‘The Last of the Tasmanians’

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Mourning dress in colonial Australiaview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article by Kellee Uhr

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Mourning dress in colonial Australia

Reference: see Australiana Magazine February 2013 vol 35, no 1, article by Kellee Uhr

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Smith Charles F Hview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, for advertisement by Peter Walker Fine Art on a watercolour c 1835 of the Whitsundays

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Smith Charles F H

Reference: see Australiana Magazine February 2013 vol 35, no 1, for advertisement by Peter Walker Fine Art on a watercolour c 1835 of the Whitsundays

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Frith Frederick, artist brother of photographer Henryview full entry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article by Jane Lennon on three versions of Frith’s photographic portrait ‘The Last of the Tasmanians’

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Frith Frederick, artist brother of photographer Henry

Reference: see Australiana Magazine February 2013 vol 35, no 1, article by Jane Lennon on three versions of Frith’s photographic portrait ‘The Last of the Tasmanians’

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Hermans The - Art in the family (of Sali Herman)view full entry

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator
Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations
Ref: 129

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Hermans The - Art in the family (of Sali Herman)

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator

Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations

Location: 129

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Herman Saliview full entry

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator
Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations

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Herman Sali

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator

Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations

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Herman Nadaview full entry

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator
Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations

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Herman Nada

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator

Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations

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Herman Tedview full entry

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator
Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations

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Herman Ted

Reference: Hermans The - Art in the family (of Sali Herman). Works by Sali Herman, Nada Herman, Ted Herman, essay by Katherine Roberts, Curator

Publishing details: Manly Art Gallery, 2010, 6-page fold-out card, 7 illustrations

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Williams Robert Francisview full entry

Reference: Robert Francis Williams - A Survey. Essay by Brian Mahoney, curated by Deborah Good. With artist’s curriculum vitae
Publishing details: Manly Art Gallery, 2008, 6-page fold out card, 8 illustrations
Ref: 129

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Williams Robert Francis

Reference: Robert Francis Williams - A Survey. Essay by Brian Mahoney, curated by Deborah Good. With artist’s curriculum vitae

Publishing details: Manly Art Gallery, 2008, 6-page fold out card, 8 illustrations

Location: 129

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Fairweather Ianview full entry

Reference: Ian Fairweather - Late Works 1953-74, essay by Angela Goddard, 35 exhibits listed
Publishing details: Queensland Art Gallery, 2012, 108pp, 60 illustrations

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Fairweather Ian

Reference: Ian Fairweather - Late Works 1953-74, essay by Angela Goddard, 35 exhibits listed

Publishing details: Queensland Art Gallery, 2012, 108pp, 60 illustrations

Location: 0

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Browne Thomas Henry Johnson (aka ‘Satan’)view full entry

Reference: see McKenzie Auctions March 2-13 (Perth) lot 71 - "The Congregational Chapel and Pastors Residence, Bunbury, Western Australia", Watercolour and gouache on paper, Inscribed "Thos. H.J. Browne, Deln November 1868". The building behind is understood to be the Rose Hotel (which still exists – although the back has been extended.) Another depiction of the Rose Hotel was painted by Browne, “Rose Hotel, Bunbury” 1865, and is currently held in the National Gallery of Canberra’s collection. A recent acquisition from a major private collection, Perth. Thomas Henry Johnson Browne was was born in London in 1818 and
trained as an architect and a civil engineer. In 1862 he
was charged with forging money orders (he claimed
years later that he was shielding his wife of the time).
He was sentenced to ten years transportation to
Western Australia and arrived on the Lord Dalhousie
in 1863. For 18 months he worked on the new
Fremantle Lunatic Asylum (now Fremantle Arts Centre) in the Office of Works Department of the Convict Establishment at Fremantle. In 1866 he painted a watercolour of the completed building, "The New Lunatic Asylum, and Invalid Depot , Fremantle, Western Australia," which is currently held in the State Library of New South Wales collection. After receiving his ticket of leave in 1865 he was self-employed and produced a small number of watercolours, a few of which, remain today. One, an attributed view of houses on High Street Fremantle (WA Museum) another, Ravenswood Hall, Murray River (Royal Western
Australian Historical Society). It was during this time that due to the number of Tom Brown(e)s working in the area that he acquired the dubious nickname of 'Satan', a reference to his sallow complexion, black hair and lean body.
His sentence expired in 1872 and as his first wife (who had remained in London) was now deceased he chose to remain in Western Australia where he worked as an
architect and land agent. He remarried in 1875 and had a young child who sadly died of sunstroke at six months of age. His new wife took to heavy drinking and their marriage was strained. Five years later it seemed his luck had turned when he opened a grand hotel around a disused mill in South Perth – the Alta Gardens Hotel. Despite it being Perth's most fashionable social centre the venture was always in debt. In 1882 he was found guilty of criminal activities over a land transaction in connection with the hotel and he was taken into custody. That night as he awaited his sentencing he committed suicide by drinking strychnine rather than face prison again.

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Browne Thomas Henry Johnson (aka ‘Satan’)

Reference: see McKenzie Auctions March 2-13 (Perth) lot 71 - "The Congregational Chapel and Pastors Residence, Bunbury, Western Australia", Watercolour and gouache on paper, Inscribed "Thos. H.J. Browne, Deln November 1868". The building behind is understood to be the Rose Hotel (which still exists – although the back has been extended.) Another depiction of the Rose Hotel was painted by Browne, “Rose Hotel, Bunbury” 1865, and is currently held in the National Gallery of Canberra’s collection. A recent acquisition from a major private collection, Perth. Thomas Henry Johnson Browne was was born in London in 1818 and
trained as an architect and a civil engineer. In 1862 he
was charged with forging money orders (he claimed
years later that he was shielding his wife of the time).
He was sentenced to ten years transportation to
Western Australia and arrived on the Lord Dalhousie
in 1863. For 18 months he worked on the new
Fremantle Lunatic Asylum (now Fremantle Arts Centre) in the Office of Works Department of the Convict Establishment at Fremantle. In 1866 he painted a watercolour of the completed building, "The New Lunatic Asylum, and Invalid Depot , Fremantle, Western Australia," which is currently held in the State Library of New South Wales collection. After receiving his ticket of leave in 1865 he was self-employed and produced a small number of watercolours, a few of which, remain today. One, an attributed view of houses on High Street Fremantle (WA Museum) another, Ravenswood Hall, Murray River (Royal Western
Australian Historical Society). It was during this time that due to the number of Tom Brown(e)s working in the area that he acquired the dubious nickname of 'Satan', a reference to his sallow complexion, black hair and lean body.
His sentence expired in 1872 and as his first wife (who had remained in London) was now deceased he chose to remain in Western Australia where he worked as an
architect and land agent. He remarried in 1875 and had a young child who sadly died of sunstroke at six months of age. His new wife took to heavy drinking and their marriage was strained. Five years later it seemed his luck had turned when he opened a grand hotel around a disused mill in South Perth – the Alta Gardens Hotel. Despite it being Perth's most fashionable social centre the venture was always in debt. In 1882 he was found guilty of criminal activities over a land transaction in connection with the hotel and he was taken into custody. That night as he awaited his sentencing he committed suicide by drinking strychnine rather than face prison again.

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Scrivener Nelly view full entry

Reference: see McKenzie Auctions March 2-13 (Perth) lot 92. Verso: Inscribed “Painted by Miss Nelly Scrivener 1899”. Possibly Nelly or Eleanor, as is often the formal version, was a relation to Henry Ambrose Scrivener,
1842 – 1906, who was a British naval officer. Various artworks and sketches of Auckland and Sydney Harbour have been attributed to him.

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Scrivener Nelly

Reference: see McKenzie Auctions March 2-13 (Perth) lot 92. Verso: Inscribed “Painted by Miss Nelly Scrivener 1899”. Possibly Nelly or Eleanor, as is often the formal version, was a relation to Henry Ambrose Scrivener,
1842 – 1906, who was a British naval officer. Various artworks and sketches of Auckland and Sydney Harbour have been attributed to him.

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Walkley Thomasview full entry

Reference: Joels Art auction14.3.2013 lot 123 THOMAS WALKLEY (19TH CENTURY)
Boating on the River Yarra, At Richmond, Near Burnley 1894 - illustrated in catalogue
watercolour , signed and dated 'T. WALKLEY AUG 1894' lower right 38.5 x 64.5cm -Estimate $ 1,000-2,000

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Walkley Thomas

Reference: Joels Art auction14.3.2013 lot 123 THOMAS WALKLEY (19TH CENTURY)
Boating on the River Yarra, At Richmond, Near Burnley 1894 - illustrated in catalogue
watercolour , signed and dated 'T. WALKLEY AUG 1894' lower right 38.5 x 64.5cm -Estimate $ 1,000-2,000

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Douglas Stewart Fine Booksview full entry

Reference: Ballarat 2013 - items relating to Ballarat, gold mining, photographs, etc
Publishing details: Douglas Stewart Fine Books, 9-11 March 2013
Ref: 142

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Douglas Stewart Fine Books

Reference: Ballarat 2013 - items relating to Ballarat, gold mining, photographs, etc

Publishing details: Douglas Stewart Fine Books, 9-11 March 2013

Location: 142

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Ballarat imagesview full entry

Reference: see Douglas Stewart Fine Books - Ballarat 2013 - items relating to Ballarat, gold mining, photographs, etc
Publishing details: Douglas Stewart Fine Books, 9-11 March 2013

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Ballarat images

Reference: see Douglas Stewart Fine Books - Ballarat 2013 - items relating to Ballarat, gold mining, photographs, etc

Publishing details: Douglas Stewart Fine Books, 9-11 March 2013

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Baird Johnview full entry

Reference: Spectacular Behaviour, exhibition invite, 3 illustrations with note on the artist
Publishing details: Arthouse gallery 2013, 4pp
Ref: 219

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Baird John

Reference: Spectacular Behaviour, exhibition invite, 3 illustrations with note on the artist

Publishing details: Arthouse gallery 2013, 4pp

Location: 219

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Bennett Craigview full entry

Reference: Second Time Around, exhibition invite, 3 illustrations with note on the artist
Publishing details: Arthouse gallery 2013, 4pp
Ref: 219

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Bennett Craig

Reference: Second Time Around, exhibition invite, 3 illustrations with note on the artist

Publishing details: Arthouse gallery 2013, 4pp

Location: 219

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Australian Art in the Sixtiesview full entry

Reference: Australian Art in the Sixties - A Book of Engravings. From the famous paintings by "Georgius", W. McLeod, Sir Oswald Brierly, Skinner Prout, Calvert, Armytage, J. Carr, T.Baines, S.T. Gill, Captain Forrest and Nicholas Chevalier. Selected from the well-known collection of Mr. J. Feldheim.

Publishing details: J. Feldheim, Melbourne, 1915. 8vo (ca 9x11.5in), card wrap-around cover, tied at spine. 26pp + prelims + adverts. Good condition. With print of map of Victoria loose at rear (ca 1873, tinted, drawn by W. Hughes
Ref: 1009

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Australian Art in the Sixties

Reference: Australian Art in the Sixties - A Book of Engravings. From the famous paintings by "Georgius", W. McLeod, Sir Oswald Brierly, Skinner Prout, Calvert, Armytage, J. Carr, T.Baines, S.T. Gill, Captain Forrest and Nicholas Chevalier. Selected from the well-known collection of Mr. J. Feldheim.

Publishing details: J. Feldheim, Melbourne, 1915. 8vo (ca 9x11.5in), card wrap-around cover, tied at spine. 26pp + prelims + adverts. Good condition. With print of map of Victoria loose at rear (ca 1873, tinted, drawn by W. Hughes

Location: 1009

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