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

Waller Christian (nee Yandell which see)view full entry

Reference: The Great Breath - A book of seven designs.
Publishing details: Melbourne : Golden Arrow Press, 1932. Narrow folio, folded boards in green cloth with hand-painted sun symbol in gold on cover, string bound, pp. 24, signed and numbered by Waller, limited to 150 copies, seven pages illustrated with tipped-in linocuts printed on translucent vellum, colophon, title page and contents page.
Ref: 1000

Shugg P Cview full entry

Reference: The craft of process engraving : lecture / by C.P. Shugg - Delivered to Members of the Victorian Division of the Printing Industry Craftsmen of Australia, October, 1934. Melbourne : Melbourne Technical College Printing Department, [printed by John Gartner] 1934. Octavo, original printed card covers (a few light marks), original owner's inscription to title page 'H.M. McArthur',16 pp, a very good copy. Scarce.
Four copies are recorded in Australian collections (RMIT University Library; State Library of Queensland; The University of Sydney Library; University of Queensland Library).
Publishing details: MELBOURNE TECHNICAL COLLEGE, 1934
Ref: 1000

GARTNER, Johnview full entry

Reference: Interesting facts about colour for the use of students in the printing classes at the Working Men’s. GARTNER, John (compiler). Colour. Melbourne : The Department of Printing, The Working Men's College, printed at the College, La Trobe Street, 1933. 'This Booklet is for the use of College Students only. Do not lose or lend. One copy for each student'
Publishing details: Small octavo, printed card covers (lightly marked), title page with original owner's signature of H. McArthur, 15 pp, includes charts and tables, a very good copy. Extremely rare.
A single copy is recorded in Australian collections (State Library of Victoria).
Ref: 1000

colourview full entry

Reference: see GARTNER, John - Interesting facts about colour for the use of students in the printing classes at the Working Men’s. GARTNER, John (compiler). Colour. Melbourne : The Department of Printing, The Working Men's College, printed at the College, La Trobe Street, 1933. 'This Booklet is for the use of College Students only. Do not lose or lend. One copy for each student'
Publishing details: Small octavo, printed card covers (lightly marked), title page with original owner's signature of H. McArthur, 15 pp, includes charts and tables, a very good copy. Extremely rare.
A single copy is recorded in Australian collections (State Library of Victoria).

Australian bookplatesview full entry

Reference: BIDGOOD, Jeff & FERSON, Mark (Eds.) AUSTRALIAN BOOKPLATES. An Illustrated Collection from Members of the Book Collectors’ Society of Australia. Syd. Book Collectors’ Society. 1994.
Original vinyl ring binder with gilt tile on front board and spine. 112pp.
40 tipped-in bookplates plus 10 illustrations of bookplates. Edition of 100 copies of
Publishing details: Book
Collectors’ Society of Australia. Syd. Book Collectors’ Society. 1994.

Ref: 1000

Wright F & Wview full entry

Reference: REEVES, Hon. William Pember. NEW ZEALAND. Painted by
F. & W.Wright.
Publishing details: Lond. A & C.Black. 1908. Or.cl.
decorated with Maori symbols. ix,241pp. uncut, 75 colour plates. Folding map
Ref: 1000

Scottish artists in Australiaview full entry

Reference: For Auld Lang Syne - Images of Scottish Australia from First Fleet to Federation. Exhibition invitation. Deatil of John Glover’s ‘Ben Lomand’ illustrated.
Publishing details: Art Gallery of Ballarat, 2014, 6pp, folding card + invite on single card
Ref: 132

Australian Postersview full entry

Reference: Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.
Ref: 57

Shiers Chas (illustrator, Tasmanian apple box labels)view full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

Northfield Jamesview full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

Vickery John 1906-1983view full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

Greenberg Joe fl 1940sview full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

Jardine Walterview full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

Rogers Harry 1929-2012view full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

Sharp Martinview full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

King M working 1980sview full entry

Reference: see Australian Posters - Australian & International Posters, Josef Lebovic Gallery catalogur - collectors’ list no. 171, 2014. 158 exhibits. Information on each exhibit and some biographical information on Australian artists.
Publishing details: Josef Lebovic, 2014, 28pp, pb.

Hill Martinview full entry

Reference: ‘Watershed’, exhibition invite, Mossgreen Gallery
Publishing details: Mossgreen Gallery, 2014, 4pp, 3 illustrations
Ref: 221

Great South Land Theview full entry

Reference: Hordern House Rare Books -
The Great South Land Searching for the antipodes, from classical scholars to Quiros & Dampier [This catalogue of books and maps tells the story of a New World. Unlike the American discoveries to which that phrase is often taken to refer, this New World is the result of a push to the east and the south. The story of its development from theory to actuality is also the story of the exploration, exploitation, and occupation of the East Indies, South East Asia, and the Pacific as the competing national interests played out their grand battle. As this catalogue amply attests, the early modern voyages have a fascinating pre-history which stretches back to the classical geographers, whose works became some of the most important early printed books in the late 1400s and 1500s. Gradually the early imaginings became replaced by the belief that a vast Southern Continent could contain riches and exotica: the Ophir of King Solomon, the lands reported by Marco Polo and golden islands, reputed to have been known to the Incas, lying somewhere in the South Pacific. When Quirós though he had found it he grandly named it Austrialia del Spiritu Santo. This catalogue is arranged in sections that will approximately tell the story of these speculations and discoveries. There are separate sections for the major exploring nations - the Dutch, Spanish, Portuguese and English. It makes a splendid roll-call: Marco Polo, Mandeville, Varthema, the first Dutch trading fleets chronicled by Lodewijcksz and Spilbergen, Jansz and the Duyfken, Quiros, Mendaña and Torres; Schouten and Le Maire showing another way across the Pacific; Tasman; Pelsaert's Batavia and the first noteworthy - and hair-raising - events in west Australia; King Manuel and Pope Leo X, Drake's great voyage, and finally William Dampier, the first English landing on the Australian continent at the cusp of the eighteenth century. This item is not available for download.].
Publishing details: Hordern House, 2011, 180pp, Case bound hardcover, dust jacket and colour illustrations. 127 items listed. With price list.

Australian-related mapsview full entry

Reference: see Great South Land The - Hordern House Rare Books - The Great South Land Searching for the antipodes, from classical scholars to Quiros & Dampier [This catalogue of books and maps tells the story of a New World. Unlike the American discoveries to which that phrase is often taken to refer, this New World is the result of a push to the east and the south. The story of its development from theory to actuality is also the story of the exploration, exploitation, and occupation of the East Indies, South East Asia, and the Pacific as the competing national interests played out their grand battle. As this catalogue amply attests, the early modern voyages have a fascinating pre-history which stretches back to the classical geographers, whose works became some of the most important early printed books in the late 1400s and 1500s. Gradually the early imaginings became replaced by the belief that a vast Southern Continent could contain riches and exotica: the Ophir of King Solomon, the lands reported by Marco Polo and golden islands, reputed to have been known to the Incas, lying somewhere in the South Pacific. When Quirós though he had found it he grandly named it Austrialia del Spiritu Santo. This catalogue is arranged in sections that will approximately tell the story of these speculations and discoveries. There are separate sections for the major exploring nations - the Dutch, Spanish, Portuguese and English. It makes a splendid roll-call: Marco Polo, Mandeville, Varthema, the first Dutch trading fleets chronicled by Lodewijcksz and Spilbergen, Jansz and the Duyfken, Quiros, Mendaña and Torres; Schouten and Le Maire showing another way across the Pacific; Tasman; Pelsaert's Batavia and the first noteworthy - and hair-raising - events in west Australia; King Manuel and Pope Leo X, Drake's great voyage, and finally William Dampier, the first English landing on the Australian continent at the cusp of the eighteenth century. This item is not available for download.].
Publishing details: Hordern House, 2011, 180pp, Case bound hardcover, dust jacket and colour illustrations. 127 items listed. With price list.

voyages to Australiaview full entry

Reference: see Great South Land The - Hordern House Rare Books - The Great South Land Searching for the antipodes, from classical scholars to Quiros & Dampier [This catalogue of books and maps tells the story of a New World. Unlike the American discoveries to which that phrase is often taken to refer, this New World is the result of a push to the east and the south. The story of its development from theory to actuality is also the story of the exploration, exploitation, and occupation of the East Indies, South East Asia, and the Pacific as the competing national interests played out their grand battle. As this catalogue amply attests, the early modern voyages have a fascinating pre-history which stretches back to the classical geographers, whose works became some of the most important early printed books in the late 1400s and 1500s. Gradually the early imaginings became replaced by the belief that a vast Southern Continent could contain riches and exotica: the Ophir of King Solomon, the lands reported by Marco Polo and golden islands, reputed to have been known to the Incas, lying somewhere in the South Pacific. When Quirós though he had found it he grandly named it Austrialia del Spiritu Santo. This catalogue is arranged in sections that will approximately tell the story of these speculations and discoveries. There are separate sections for the major exploring nations - the Dutch, Spanish, Portuguese and English. It makes a splendid roll-call: Marco Polo, Mandeville, Varthema, the first Dutch trading fleets chronicled by Lodewijcksz and Spilbergen, Jansz and the Duyfken, Quiros, Mendaña and Torres; Schouten and Le Maire showing another way across the Pacific; Tasman; Pelsaert's Batavia and the first noteworthy - and hair-raising - events in west Australia; King Manuel and Pope Leo X, Drake's great voyage, and finally William Dampier, the first English landing on the Australian continent at the cusp of the eighteenth century. This item is not available for download.].
Publishing details: Hordern House, 2011, 180pp, Case bound hardcover, dust jacket and colour illustrations. 127 items listed. With price list.

travels to Australiaview full entry

Reference: see Great South Land The - Hordern House Rare Books - The Great South Land Searching for the antipodes, from classical scholars to Quiros & Dampier [This catalogue of books and maps tells the story of a New World. Unlike the American discoveries to which that phrase is often taken to refer, this New World is the result of a push to the east and the south. The story of its development from theory to actuality is also the story of the exploration, exploitation, and occupation of the East Indies, South East Asia, and the Pacific as the competing national interests played out their grand battle. As this catalogue amply attests, the early modern voyages have a fascinating pre-history which stretches back to the classical geographers, whose works became some of the most important early printed books in the late 1400s and 1500s. Gradually the early imaginings became replaced by the belief that a vast Southern Continent could contain riches and exotica: the Ophir of King Solomon, the lands reported by Marco Polo and golden islands, reputed to have been known to the Incas, lying somewhere in the South Pacific. When Quirós though he had found it he grandly named it Austrialia del Spiritu Santo. This catalogue is arranged in sections that will approximately tell the story of these speculations and discoveries. There are separate sections for the major exploring nations - the Dutch, Spanish, Portuguese and English. It makes a splendid roll-call: Marco Polo, Mandeville, Varthema, the first Dutch trading fleets chronicled by Lodewijcksz and Spilbergen, Jansz and the Duyfken, Quiros, Mendaña and Torres; Schouten and Le Maire showing another way across the Pacific; Tasman; Pelsaert's Batavia and the first noteworthy - and hair-raising - events in west Australia; King Manuel and Pope Leo X, Drake's great voyage, and finally William Dampier, the first English landing on the Australian continent at the cusp of the eighteenth century. This item is not available for download.].
Publishing details: Hordern House, 2011, 180pp, Case bound hardcover, dust jacket and colour illustrations. 127 items listed. With price list.

Collingridge George ‘Discovery of Australia’view full entry

Reference: see Great South Land The - Hordern House Rare Books - The Great South Land Searching for the antipodes, from classical scholars to Quiros & Dampier [This catalogue of books and maps tells the story of a New World. Unlike the American discoveries to which that phrase is often taken to refer, this New World is the result of a push to the east and the south. The story of its development from theory to actuality is also the story of the exploration, exploitation, and occupation of the East Indies, South East Asia, and the Pacific as the competing national interests played out their grand battle. As this catalogue amply attests, the early modern voyages have a fascinating pre-history which stretches back to the classical geographers, whose works became some of the most important early printed books in the late 1400s and 1500s. Gradually the early imaginings became replaced by the belief that a vast Southern Continent could contain riches and exotica: the Ophir of King Solomon, the lands reported by Marco Polo and golden islands, reputed to have been known to the Incas, lying somewhere in the South Pacific. When Quirós though he had found it he grandly named it Austrialia del Spiritu Santo. This catalogue is arranged in sections that will approximately tell the story of these speculations and discoveries. There are separate sections for the major exploring nations - the Dutch, Spanish, Portuguese and English. It makes a splendid roll-call: Marco Polo, Mandeville, Varthema, the first Dutch trading fleets chronicled by Lodewijcksz and Spilbergen, Jansz and the Duyfken, Quiros, Mendaña and Torres; Schouten and Le Maire showing another way across the Pacific; Tasman; Pelsaert's Batavia and the first noteworthy - and hair-raising - events in west Australia; King Manuel and Pope Leo X, Drake's great voyage, and finally William Dampier, the first English landing on the Australian continent at the cusp of the eighteenth century. This item is not available for download.].
Publishing details: Hordern House, 2011, 180pp, Case bound hardcover, dust jacket and colour illustrations. 127 items listed. With price list.

Regarding Fear and Hopeview full entry

Reference: Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007
Ref: 1000

Bartana Yaelview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Burchill Janet & Jennifer McCamleyview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Doherty Willieview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Griggs Davidview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Madriz Luciaview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Nicholson Tomview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

R E Aview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Gonzalez Lazaro A Saavedraview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Spong Sriwhanaview full entry

Reference: see Regarding Fear and Hope - Monash University Art Gallery Exhibition, Guest Curator: Victoria Lynn
Publishing details: Monash University Art Gallery, 2007

Johnson Chrisview full entry

Reference: Chris Johnson - 1996 - 2010 Sketches
Publishing details: Published by The Author, Sydney, 2010
Ref: 1000

Clark Russell 1905-1966view full entry

Reference: The Drawings of Russell Clark by Michael Dunn
Publishing details: Auckland ; London : Collins, 1976.
Physical Description
88 p. : ill. (some col.)
Ref: 1000

Webber Johnview full entry

Reference: Captain Cook’s Painter: John Webber 1751 - 1793 - Pacific Voyager and Landscape Artist by William Hauptman. Includes bibliographical references (p. 250-255)
Text in German and English.
Catalogue of an exhibition held at the Kunstmuseum Bern, Switzerland, 27th March - 2nd June, 1996 and The Whitworth Art Gallery, The University of Manchester, England, 4th July - 15th September, 1996
Publishing details: Kunstmuseum Bern, 1996, 255 p. : ill. (some col.)

Sydney Harbour Bridge - A Lifeview full entry

Reference: Sydney Harbour Bridge - A Life, by Peter Spearritt [’This book addresses the early plans for a harbour crossing; the Bradfield plan: building the bridge; opening the bridge; the bridge builders experiences; using (and paying for) the bridge; the bridge in art and advertising; the bridge as Australia's icon.’]
Publishing details: Allen & Unwin, Sydney 1982, 120pp, b/w & colour illusts
Ref: 1000

Houseview full entry

Reference: House - Imagining the past through the collections of the Historic Houses Trust of New South Wales by Robyn Stacey and Peter Timms. [’Curator Peter Timms, & photographer Robyn Stacey team up to present the extraordinary everyday objects to be found in Elizabeth Bay House, Vaucluse House, & the Rouse Hill House & Farm. ‘]
Publishing details: Historic Houses Trust of New South Wales, Sydney: 2011. Quarto, dustwrapper, 168 pp., colour photographs.
Ref: 1000

Australian Art - A Historyview full entry

Reference: Australian Art - A History by Sasha Grishin. Includes bibliographical references (pages 534-545) and index. [’A comprehensive and definitive history of Australian Art, now in a paperback edition. Sasha Grishin is a leading Australian art historian, art critic and curator who has published some twenty books and over two thousand articles on various aspects of art. This book is his magnum opus, a comprehensive and definitive history of Australian art. Lavishly illustrated and meticulously researched, Australian Art: A History provides an overview of the major developments in Australian art, from its origins to the present. The book commences with ancient Aboriginal rock art and early colonialists' interpretations of their surroundings, and moves on to discuss the formation of an Australian identity through art, the shock of early modernism and the notorious Heide circle. It finishes with the popular recognition of modern Indigenous art and contemporary Australian art and its place in the world. A major emphasis is placed on the art of the past fifty years, when both Indigenous and non-Indigenous Australian art have received widespread international acclaim. All major expressions of visual culture in Australia are addressed, including painting, sculpture, graphic arts, photography, applied arts, installation art and digital art.’]
[’‘Grishin presents a story that is multilayered in its complexity and detail… [His book] at once broadens the scope of our national art and draws together these diverse strands into a compelling narrative. Above all it is a lively and insightful account of the diversity and richness of artistic endeavour of this country.' — Tony Ellwood, Director, National Gallery of Victoria

Sasha Grishin is a leading Australian art historian, art critic and curator who has published some twenty books and over two thousand articles on various aspects of art. This book is his magnum opus, a comprehensive and definitive history of Australian art.

Lavishly illustrated and meticulously researched, Australian Art: A History provides an overview of the major developments in Australian art, from its origins to the present. The book commences with ancient Aboriginal rock art and early colonialists' interpretations of their surroundings, and moves on to discuss the formation of an Australian identity through art, the shock of early modernism and the notorious Heide circle. It finishes with the popular recognition of modern Indigenous art and contemporary Australian art and its place in the world.

A major emphasis is placed on the art of the past fifty years, when both Indigenous and non-Indigenous Australian art have received widespread international acclaim. All major expressions of visual culture in Australia are addressed, including painting, sculpture, graphic arts, photography, applied arts, installation art and digital art. - See more at: http://www.randomhouse.com.au/books/sasha-grishin/australian-art-a-history-9780522856521.aspx#sthash.krx9hMzc.dpuf’]
Publishing details: The Miegunyah Press, an imprint of Melbourne University Publishing , 2015 (second edition), pb, xi, 570 pages : illustrations (chiefly colour).

Calder J Sview full entry

Reference: see Deutsher and Hackett 30 Aprl 2014 lot 47: J.S. CALDER (active 1860s) PORT PHILLIP BAY, FROM THE SOUTH WEST CORNER OF ROYAL PARK ACROSS BATMAN'S SWAMP (WEST MELBOURNE SWAMP) TO PORT MELBOURNE WITH WILLIAMSTOWN TRAIN CROSSING, c1860s
oil on canvas
94.0 x 155.5 cm
signed lower right: J.S. CALDER
$40,000 - 60,000 - Research to date has been unable to reveal the identity of the artist J.S. Calder. A past attribution to the Tasmanian surveyor James Erskine Calder (1808 - 1882) which appears on the painting's title plaque is erroneous. Provenance
Private collection, Melbourne
Christie's, Melbourne,1 March 1973, lot 250
Private collection
Christie's, Sydney, 22 October 1975, lot 376
Private collection
Leonard Joel, Melbourne, 27 May 1981, lot 906
Private collection, Melbourne
Literature
Illus. on Picture Victoria, State Library of Victoria, Melbourne, , viewed 13 March 2014 (as James Calder, 'Painting of view from Royal Park across West Melbourne swamp', c1860s)
Essay
This 1860s view of Port Phillip Bay from Royal Park depicts an exciting moment in Melbourne's early development. The clear blue lagoon of Batman's Swamp and the surrounding meadows and tea tree thickets are yet to be despoiled, dozens of sailing ships anchored in the bay, still bringing diggers to the goldfields, with a building boom gradually filling Sandridge (Port Melbourne) and Williamstown. The main part of the city is out of view over the hills on the left, leaving a rural idyll with only scattered traces of the incursion of civilisation.

The rider looks down on an Aboriginal man holding a spear and wearing a possum skin cloak. Aboriginal people still congregated around the settlement, but by 1860 they were a rare site in Melbourne with just 28 Bunurong and Woiwurrung (of which the Wurundjeri were the main clan) recorded in the census before they were removed to Coranderrk in 1863.

Royal Park was an important Wurundjeri camping ground, described by John Batman as, 'thinly timbered with gum and wattle and she-oak'. The Park originally comprised 2,500 acres (625 hectares), and was created by Governor Latrobe on his last day in Melbourne in 1854. Latrobe had previously limited land sales within five miles of Melbourne to preserve the town reserve. It became an important gathering place for Melburnians, such as when a vast crowd watched Burke and Wills set out on 20 August 1860 to cross the continent from south to north. It would be interesting to know if Calder painted his scene after this event.

The view is from the high ground near North Melbourne, possibly around Canning and Shiel Streets, looking south to Port Phillip Bay with the Williamstown promontory on the right, Batman's Hill in the left distance, and Arthurs Seat on the horizon (just above the rider). Cattle graze around the swamp margins, where a decade later pumps were installed and a channel dug to drain the swamp and the Moonee Moonee Chain of Ponds, now Moonee Ponds Creek.

The low land between Melbourne and Williamstown rose from the swamp to Batman's Hill and Flagstaff Hill, where a grassy woodland of eucalypts, wattles and she oaks was considered 'the prettiest part of Melbourne'. The dead stag on the left was probably a Yellow Box (Eucalyptus melliodora) or Yellow Gum (Eucalyptus leucoxylon). The foreground vegetation is imaginative, but may represent Tree Violet (Hymenanthera dentata) and Flax Lily (Dianella spp.) on the escarpment. This is now the Docklands, rail yards and port area.

Sails appear to glide through the trees in the distance, but this is where the Yarra ran on its tortuous course, lined with Swamp Paperbark (Melaleuca ericifolia) along Humbug Reach and Fishermen's Bend before excavation of the Coode Canal straightened and widened it.

A number of historically accurate features are shown, including the causeway of the Geelong and Williamstown Railway with its bridge over what is now Moonee Ponds Creek, the chimneys and bottle shaped kilns of the North Melbourne pottery just in front of the swamp. Tanneries and houses are along Flemington Bank (the swampy margins on Moonee Ponds Creek) and Kensington Hill. The 1852 Point Gellibrand Lighthouse in the centre distance stands prominently in its coat of whitewash. It was converted to a timeball tower in 1858, and then back to a lighthouse in 1925, then reverted to a timeball in the 1980s restoration, but with bare bluestone rather than whitewashed. The buildings along Nelson Place to the right of the lighthouse include the threestorey Oriental Hotel (built 1854 as Cox's Family Hotel then renamed the Barkly Arms Hotel in 1857), which still stands today but is proposed for demolition.

GARRY VINES
Senior Historical Archaeologist, Biosis

Smitview full entry

Reference: Australian Art - A History by Sasha Grishin

Smitview full entry

Reference: Australian Art - A History by Sasha Grishin

Finey Georgeview full entry

Reference: Caricatures by George Finey, Art in Australia. Includes the art of caricature by Lionel Lindsay. More than 40 caricatures illustrated.
Publishing details: Ure Smith, 1931, pb, 74pp. Copy inscribed ‘To Stephen [Scheding] George Finey 1895 - 1971 Still going wrong’

Johnson Michaelview full entry

Reference: Michael Johnson - Selected works at Mossgreen. Invite with 4 colour illustrations and essay by Anna Johnson
Publishing details: Mossgreen Gallery, 2013, 8pp folding card.
Ref: 221

Henderson Louiseview full entry

Reference: from Wikipedia: Dame Louise Etiennette Sidonie Henderson, - Born in Paris, she was raised there and it was there she met her future husband Hubert Henderson, a New Zealander. Hubert returned to New Zealand in 1923 and proposed to Louise, but propriety demanded that a single woman not travel alone to New Zealand.[citation needed] She was married to Hubert by proxy at the British Embassy in Paris before emigrating to New Zealand in 1925 and settling with her husband in Christchurch where she began studies at the Canterbury School of Art.[1] After earning her diploma in 1931 she went on to teach at the school.

In 1933 she gave birth to their only child, a daughter Diane.

In the early 1940s Henderson moved to Wellington and became interested in modernist concerns after seeing a number of cubist inspired paintings by John Weeks, who she was corresponding with.[citation needed] In 1950 the family moved to Auckland and she attended the Elam School of Art but was frustrated by its conservatism. She continued to work in John Weeks' studio, however and her work of this period becomes increasingly abstract and intellectual.[1]

In 1952, at Weeks's urging, and with her husband's support, Louise Henderson returned to Paris for a year to improve her knowledge of modern painting. She studied there with Jean Metzinger. On her return to Auckland she was recognised as one of the leading Modernist painters. An exhibition of Henderson's adaptations of the cubist style was held at the Auckland City Art Gallery shortly after she returned from Paris in 1953. This show combined with exhibitions over following years in both Auckland and Wellington established her reputation as a modern artist of note.[citation needed]

She continued to employ a cubist approach, at times almost totally non-figurative, for the rest of her painting life. In the late 1970s and throughout the 1980s Henderson frequently chose still-life subjects as the starting point for paintings. All these works contain facetted abstraction in a traditionally cubist manner but still retain enough figurative fragments to enable the subject to be easily recognised.[citation needed]

Henderson continued to be an active painter well into her eighties. Her outstanding contribution to New Zealand painting was recognised in 1973 through the granting of a Queen Elizabeth II Arts Council fellowship.

Woore Thomas attributedview full entry

Reference: see 69 John Street, Fine Art Dealers, catalogue, 2014, catalogue no.9 - of John Oxl;ey’s Kirkham Mill, Camden Village 1842 and (Cowpastures) Bridge & Village of Camden 1842, both pencil, 22.5 x 41 cm. Priced at $32000.
Publishing details: see 69 John Street, 2014

69 John Street, Fine Art Dealersview full entry

Reference: 69 John Street, Fine Art Dealers, catalogue, 2014, 36 exhibits with price list
Publishing details: see 69 John Street, 2014
Ref: 132

Gruner Eliothview full entry

Reference: Elioth Gruner: The Texture of Light
written by Deborah Clark. A Canberra Museum and Gallery and Newcastle Art Gallery partnership exhibition. Approximately 70 works listed (mainly from public collections).
Publishing details: Canberra Museum and Gallery, Paperback, 104 pages. With bibliography and index.

Ferran Anneview full entry

Reference: Anne Ferran - The Ground the Air
written by Geoffrey Batchen, Jonathan Holmes, Craig Judd

Publishing details: Tasmanian Museum and Art Gallery
Hardback – 50 pages
Ref: 1000

Lister Anthonyview full entry

Reference: Anthony Lister
Tales of White Trash Prophecy
written by Anthony Lister
Publishing details: Upper Playground Publishing,
Hardback – 96 pages
Ref: 1000

Medland Lilianview full entry

Reference: Seen but not heard : Lilian Medland's birds by Christobel Mattingley. [’Lilian Medland has not received until now the recognition she deserves as a painter of birds. Due to world events and circumstances, five important books on birds containing her superb illustrations were never published. Even now, she is not mentioned in the Australian Dictionary of Biography in her own right, but only in the entry for her husband, ornithologist Tom Iredale. Seen but Not Heard is the first publication to shine a light on the life and work of this much-overlooked but brilliant Australian natural history artist.‘]

Publishing details: National Library of Australia, 2014,
207 pages : colour illustrations ; 28 cm.

Boyd Davidview full entry

Reference: David Boyd - His work, his life, his family by Nicky McWilliam ‘and the team at Eva Breuer Art Dealer’.
Publishing details: Eva Breuer Art Dealer, 2012 (?)
346 colour page, soft cover book
Put together

Clark Tonyview full entry

Reference: TONY CLARK: MYRIORAMA - [’Myriorama, a major new monograph recording 28 years of Tony Clark’s Sections from Clark’s Myriorama paintings. The deluxe cloth-bound edition includes over 100 colour plates and texts by Geoff Cox, Robyn McKenzie, Jarrod Rawlins, David Tibet and Murray White.’]
Publishing details: Modern Journal
Imprint, 2013 (?) hc
Ref: 1000

Platten Annaview full entry

Reference: Anna Platten, written by Tracey Lock-Weir, foreword by Nick Mitzevich (director), text on Platten’s works and practice written by Tracey Lock-Weir.

Publishing details: Art Gallery of South Australia, 2012,
Hardback – 132 pages
Ref: 1000

Ollis Bernardview full entry

Reference: Bernard Ollis Art Book: A Town Like Paris [’The works are violently colourful with brilliant hues of purple, blue, yellow and green. Paintings such as 'Pont au change and the Conciergerie' and 'Notre Dame with Bouquinistes' depict the city in all its brilliant difference. A city that stands apart from all others in its uniqueness and romantic allure.
-- Mike Mitchell
Director
Muk Muk Fine Art
August 2013’]
Publishing details: Muk Muk Fine Art,
Hardback – 87 pages
Ref: 1004

Thomson Annview full entry

Reference: Ann Thomson by Anna Johnson

Publishing details: Tim Olsen Editions, Hardback
Ref: 1005

Churcher Bettyview full entry

Reference: Notebooks by Betty Churcher [’In this gorgeously illustrated book, join Betty Churcher on a personal tour of her most beloved works, including masterpieces by Rembrandt, Goya, Manet, Velazquez, Courbet, , etc.’]
Publishing details: Miegunyah Press, Melbourne 2011, 2011
21.0 x 15.0cms, 252pp, colour illusts, fine cloth-covered hardback (no dustwrapper as issued)

Churcher Bettyview full entry

Reference: Betty Churcher Australian Notebooks
written by Betty Churcher [’In Australian Notebooks, Betty Churcher revisits some of the artworks she most cherishes—a seminal Picasso, early works of the Heidelberg School, a striking portrait by Lucian Freud—and invites us to look afresh at the treasures that can be found in Australian galleries.

Taking in the glorious work of Australian artists such as John Olsen, Arthur Boyd and Sidney Nolan, as well as masterpieces by Paul Cézanne, Henri Matisse and Giambattista Tiepolo, through her own accomplished skteches Betty draws out the particular charm and context of each piece.

Interwoven with extraordinary stories—one canvas flew off the back of a truck on the Pacific Highway; another was imported from Imperial Russia, paid for with a briefcase full of cash—Betty's engaging insights bring the artworks to life.

With gorgeous full-colour reproductions, this is a book to turn to again and again for inspiration, solace and delight.]
Publishing details: Miegunyah Press,
Paperback – 264 pages

Barker T Wview full entry

Reference: see Tulloch’s Auction, Launceston, 16 April 2014: Lot 669 - A Huon pine framed watercolour c1840 - An inscription verso states T.W.Barker 1841 artist? 15cm x 11cm ex Dalness est $500-1000 [portrait of a boy, similar to Costantini]

Strange Frederickview full entry

Reference: see Tulloch’s Auction, Launceston, 16 April 2014: Lot 673 - Frederick Strange 1807-1873- Watercolour - View of Launceston from the South - 26cm x 48cm circa 1850 - Housed in Huon pine frame, probably by R.L.Hood who was responsible for most of Strange's frames. It appears this previously unrecorded work may have been painted around 1850 and exhibited in The Launceston Art Exhibition of 1851 entitle 'View of the Town'. Strange was a convict transported to V.D.L for life in 1838. Conditionally pardoned in 1848, Strange has been responsible for providing us with a rare body of work documenting the Colony's development in the 19th century. est $15000-30000

Dodd Robertview full entry

Reference: see John Moran Auctions: Lot# 1208 After Robert Dodd, 'Mutiny on the Bounty' hand colored engraving - Printed title lower margin: 'The Mutineers turning Lieut. Bligh and part of the Officers and Crew adrift from His Majesty's Ship The Bounty', engraving with aquatint on paper under glass, image size: 16.25'' H x 23'' W, est: $1500/2000
*Price Realized: $1,020.00

Note: This engraving was owned by Carey Wilson, grandfather of the present owners, who was an Academy Award-nominated screenwriter and one of the 36 founders of the Academy of Motional Pictures Arts and Sciences. Wilson produced and acted in dozens of productions and was a screenwriter for over 70 films including the 1935 Metro-Goldwyn-Mayer film 'Mutiny on the Bounty' (on which he collaborated with two other writers). This print was one of several items relating to the film in his private collection. Printed lower margin: Painted and Engraved by Robert Dodd (British 1748-1816), Pub. October 1790 by B.B. Evans, Poultry, London. Plate dimensions: 18.23'' x 25''. Paper dimensions: 19.75'' x 26.75''. Provenance: Property from the Estate of Carey Wilson, a Hollywood Television Writer-Producer; thence by descent to the present family members. Condition: Visual: The paper laid to a board slightly narrower than the paper with the left and right paper edges folded around the board. Soiling and toning throughout. Mat stain and abrasions to the margins outside of the plate mark from a previously adhered mat. Spots of stain and foxing throughout, particularly evident in the margins. Stable tears extending in the margins from all sides and a stable .75'' tear to the left of the white-shirted figure on the right side. A small scattered surface abrasion in the sky in the upper left. Two pinholes along the lower margin edge. Printing date not confirmed, please refer to our conditions of sale and bid accordingly. AS-IS.

van der Velden Petrus view full entry

Reference: VELDEN. WILSON, T.L. Rodney. PETRUS VAN DER VELDEN, a catalogue raisonné. Two volumes, folio, tipped-in
colour plates, original canvas in matching slipcase.
Publishing details: Sydney, Chancery Chambers, 1979. Limited edition of 1500 copies.

Ref: 1000

Womens’ Art Clubview full entry

Reference: see WOMEN'S ART CLUB. CATALOGUE. The Women's Art Club. Annual Exhibition of Pictures and Applied Arts, Athenaeum Hall, Collins Street, Open November 10th to
20th. Tall octavo, stapled in original printed wrappers, circa 1930s). Artists include Baskerville, Bale, Oakley, and Levi,

Reality in Flamesview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Australian artists at warview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Adams Denis 3 works illustratedview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Hawthorne Dore essay on and 4 illustrationsview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Colahan Colin essay on + at least 5 works view full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Klippel Robert war worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Contemporary Art Society brief essayview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Slawik Bernard 4 works view full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Studio of Realist Artists (SORA) p86view full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Official War Art Scheme p87view full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Official War Artistsview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Abbott Haroldview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Atkinson Yvonneview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Bergner Yosl 2 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Black Dorritt 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Bowen Stella 4 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Brack John 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Bush Charles 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Cant James 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Carter Maurice 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Counihan Noel 2 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Craig Sybil 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Dadswell Lyndon 2 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Dobell William 2 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Drysdale Russell 23worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Francis Ivor 2 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Friend Donald 4 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Griffin Murray 2 works view full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Hawkins Shiela 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Haxton Elaine 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Herman Sali 3 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Hele Ivor 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Hester Joy 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Heysen Nora 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Hinder Frank 5 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Hirschfeld-Mack Ludwig 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Julius Rex 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Kemp Roger 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Lindsay Arthur 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Mainwaring Geoffrey 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Mayo Daphne 1 work Two Jolly Sailormenview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

McClintock Herbert 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Moore Alan 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Newton Max 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Nolan Sidney 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

O’Brien Justin 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Purves Smith Peter 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Ragless Max 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Rowed Reginald official war artist 2 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Taylor Grace 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Taylor Howard 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Thake Eric 5 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Tucker Albert 7 worksview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Vassilieff Danila 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Walker Ralph 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Watson Douglas 1 workview full entry

Reference: Reality in flames: exhibition catalogue
Warwick Heywood - exhibition curator. With exhibition checklist and four essays by Warwick Heywood, Bridie Macgillicuddy, Cherie Prosser, Ryan Johnson. An Australian War Memorial. exhibition. All works exhibited and illustrated are from the Australian War Memorial.

[’Modern Australian artists were immersed in the Second World War. They served in the armed forces, worked with labour groups or in factories, and as official artists observing, recording, and interpreting military activity.

Drawing on their immediate experiences, these men and women responded to the upheaval and anxiety of the period to create powerful imagery that explored all aspects of life during war.

Reality in flames is the first exhibition dedicated exclusively to exploring how Australian modernist artists responded creatively to the Second World War. The exhibition consists of 90 works of art drawn from the Australian War Memorial’s collection; taken together, they constitute one of the most diverse and comprehensive collections of modern Australian art relating to war.

The exhibition includes work by leading artists Donald Friend, Joy Hester, Nora Heysen, Frank Hinder, Roger Kemp, Sidney Nolan, Eric Thake, Albert Tucker, and Danila Vassilieff.

Reality in flames: modern Australian art and the Second World War travelling exhibition will tour regional and metropolitan Australia beginning in April 2014.’]
Publishing details: Australian War memorial, 2014, Soft cover, photographs, 101 pages.

Impressions of Geelongview full entry

Reference: Impressions of Geelong
2013

Publishing details: Geelong Art Gallery, 2013
Ref: 1000

Pearl Gabrielview full entry

Reference: Pearl Gabriel Sulman Prize entry 1965 was titled ‘Immaculate Conception’ oil on board, 59 x 49 cm offered at Raffan Kelleher & Thomas 15.4.2014 lot 119. Estate of Rose Marie Thompson

Farmer Johnview full entry

Reference: see Pro Auction Ltd
Important British Fine Art Sale - 19th / 20th Century Oils and Watercolour paintings.
Lot 42, 22.4.2014 - John Farmer (Australian, 1897-1989) Still Life Oil on canvas, signed, 70 x 58cm
John McCormick Farmer was born in Melbourne in 1897, in 1914 enrolled at the Melbourne National Gallery School in the drawing class under Fred McCubbin, attending for three and a half years. He won first prize in 1916 for his anatomical drawing of a figure from a cast. In 1917, on advice from Richard McCann, he enrolled to study under Max Meldrum for several years.
Wishing to gain further knowledge of the Old Masters work he left for Europe in 1924, travelling and studying in England, France and Holland and remained in Europe for nearly three years. In 1925 he had 2 paintings hung in the Royal Academy. In 1928 Farmer exhibited by invitation in the 10th annual exhibition of the Society of Twenty Melbourne Painters. He continued to exhibit regularly with the Society as an Associate (then Full Member from 1942) becoming an honorary Life Member in 1984
In 1933 while living in England he exhibited with the Royal Society of Portrait Painters (London), returning to Australia in 1935 he established a painting school in Sydney in the following year.
An exhibition of Farmers prints was organised by the McClelland Gallery, Langwarrin in 1982. He is represented in the National Gallery of Australia, Canberra, State Galleries of NSW, Queensland, SA and Victoria, Regional Galleries of Ballarat, Bendigo, Broken Hill, Castlemaine, Geelong, Hamilton, Langwarrin, Launceston, Sale, Shepparton and Warrnambool.

Lever Richard Hayleyview full entry

Reference: see Doyle auction NY, 8.5.2014 - Richard Hayley Lever American, 1875-1958 Seascape, 1941 Signed Hayley Lever and dated 1941 (ll) Oil on canvas 30 1/4 x 40 1/4 inches Provenance: Wickersham Gallery, New York Private collection The Australian-born painter, Richard Hayley Lever initially turned his attention to marine subjects during his time in St. Ives, Cornwall, where he was introduced to and profoundly influenced by the art of Vincent van Gogh. He continued to focus on the sea after moving to New York in 1911. He made the first of many visits to Gloucester, Massachusetts, in 1915, which became his base for numerous excursions up and down the Atlantic seaboard in the decades that followed. He was drawn to depicting turbulent oceans, using his brush to effectively capture the restless movement of the surf, in contrast with the hard solidity of monumental forms of rocky outcroppings.

Lermette Winifredview full entry

Reference: see Mossgreen Auctions 3 May 2014 - WINIFRED LERMETTE (LERMITTE) (WORKING IN AUSTRALIA 1894)
Racehorse. (A professionally painted work)
oil on canvas
signed and dated ‘W. Lermette, 89’ lower left
39.5 x 55cm

Officer Edward Cairnsview full entry

Reference: see ADB: OFFICER, EDWARD CAIRNS (1871-1921),

artist,
was born at Murray Downs, Swan Hill, Victoria, in 1871. He was the third son of Suetonius Officer and his wife, a daughter of the Rev. Adam Cairns. His grandfather, Sir Robert Officer (1800-1879), was speaker of the Tasmanian house of assembly for many years. Officer was educated at Toorak College and the national gallery, Melbourne. From there he went to Paris and studied at Julien's. He exhibited at leading exhibitions in Paris and London, and in 1903 was the winner of the Wynne prize awarded by the national gallery, Sydney. In 1912 his painting, "The Woolshed", was purchased under the Felton (q.v.) bequest for the national gallery, Melbourne. In the same year, on the foundation of the Australian Art Association at Melbourne, he was elected its president and held the position for the rest of his life. He was appointed a trustee of the public library, museums and national gallery of Victoria in 1916. He died at Macedon, Victoria, on 7 July 1921. He married Grace, daughter of Sir Thomas Fitzgerald (q.v.), who survived him. Officer who worked in oils did some excellent landscape work, restrained, sometimes low-toned, yet with a feeling for the open air. Three examples of his work are at the Melbourne gallery and he is also represented at Castlemaine.

The Argus, 9 July 1921; W. Moore, The Story of Australian Art

Lauraine Diggins catalogue - Drawn: Following the line view full entry

Reference: Lauraine Diggins catalogue - Drawn: Following the line. Drawings and works on ppaer from 1850s until today. 64 works listed 26 illustrated.
Publishing details: Lauraine Diggins Fine Art, 2014, includes price list
Ref: 63

Buvelot Louis 6 drawingsview full entry

Reference: see Lauraine Diggins catalogue - Drawn: Following the line. Drawings and works on ppaer from 1850s until today. 64 works listed 26 illustrated.
Publishing details: Lauraine Diggins Fine Art, 2014, includes price list

Lock Samuel Thomas 1822-1881 Corroborree South Australia, wcview full entry

Reference: see Lauraine Diggins catalogue - Drawn: Following the line. Drawings and works on ppaer from 1850s until today. 64 works listed 26 illustrated.
Publishing details: Lauraine Diggins Fine Art, 2014, includes price list

Commins John Anthony 1858-1898 Mail Man 1894, wcview full entry

Reference: see Lauraine Diggins catalogue - Drawn: Following the line. Drawings and works on ppaer from 1850s until today. 64 works listed 26 illustrated.
Publishing details: Lauraine Diggins Fine Art, 2014, includes price list

Cape York Concepts by Artists of the Far Northview full entry

Reference: Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illsutrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp
Ref: 132

Hook Jo Anneview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

McAulay Tomview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Wiltshire Helenview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Hardy Denisview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Nicholas Michaelview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Peden Ludijview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Wanjidari (Leanne Reid)view full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Spencer Brianview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Adams Gregview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Stacey Davidview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Badcock Davidview full entry

Reference: see Cape York Concepts by Artists of the Far North, text by Tony Barnet. Biographical essays on each of the 11 artists included. Each artist has at least 3 illustrations of works.
Publishing details: Boolarong Publications, nd [1988?] 56pp

Cambridge Enidview full entry

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

Painter and Teacher

Well Known for her Gentle and Delicate Modernist Watercolour Paintings

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

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

Attended Roland Wakelin Art Class in Chatswood and Waverton Sydney 1926

Also with Oscar Kokoschka in Salzburg Germany in 1959

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

Held 12 Solo Exhibitions at Macquarie Art Gallery Sydney

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

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

A Close Friend of Grace Crossington Smith

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

<Work Represented>

National Gallery of Australia, Canberra

Art Gallery of NSW, Sydney

National Gallery of Victoria, Melbourne

Art Gallery of South Australia, Adelaide

Queensland Art Gallery, Brisbane

Newcastle Regional Art Gallery

Howard Hinton Collection\

Sydney University Art Collection

Manly Art Gallery and Museum

Bendigo Art Gallery

Ballarat Art Gallery

Murphy Leighview full entry

Reference: Leigh Murphy and a restorer the late Michael Coniston Nash appear to have been involved with works sold by Lauraine Diggins that were subsequently discredited. See Four Corners program at http://www.abc.net.au/4corners/stories/s25145.htm

Coniston Nash Michaelview full entry

Reference: Leigh Murphy and a restorer the late Michael Coniston Nash appear to have been involved with works sold by Lauraine Diggins that were subsequently discredited. See Four Corners program at http://www.abc.net.au/4corners/stories/s25145.htm

Frazer Neilview full entry

Reference: Neil, Frazer - Hard Edge. Catalogue with approximately 30 works all illustrated
Publishing details: Martin Brown Contempoary, 2014, pb, 36 pp, includes price list and invite
Ref: 221

Morley Lewisview full entry

Reference: obituary in Look Magazine, by Bill Blinco with 4 illustrations
Publishing details: May 2014

Boyd Danielview full entry

Reference: Look Magazine, article by Jill Sykes
Publishing details: May 2014

Dupain Max in Parisview full entry

Reference: Look Magazine, article by Helen O’Neill
Publishing details: May 2014

Henzell Isaac 1815-1876view full entry

Reference: see Bearnes Hampton & Littlewood
Three Day Fine Art Sale - Isaac Henzell [1815-1876]- An extensive shore scene, fisherfolk with catch in foreground, horse, cart and fishermen unloading a catch from a beached boat beyond:- signed and dated 1848 bottom right oil on canvas 63 x 93cm * Biography. A genre, landscape and portrait artist. Born Sheffield, descended from the Huguenot family De Henzell, who settled in Tyneside in 1619. First recorded as an artist in Newcastle in 1841. Shortly afterwards he emigrated to Australia with his nephews, the marine artists, Hemy, but returned in 1854. He spent most of his working life painting in the Newcastle area, frequently travelling to London, where he had an address, to show and sell his work. He exhibited at the Royal Academy and Suffolk Street.
Estimate:
£1,500 - £2,000
Lot 412 - 29 April 2014 -

Traill Jessie and W K Johnsonview full entry

Reference: see Thomas Watson
Fine Art, Antiques & Jewellery
Lot 639 - 13 May 2014 (UK) Jessie Constance Alicia Traill (Australian, 1881-1967) and W.K. Johnson, "Their Time Has Come, Northumberland", signed WK Johnson 1946 and JCA Traill 1938, titled and numbered 24/25 in pencil, etching, framed. 12cm by 23cm Note: Traill was born in Brighton, Victoria. She studied etching in London with Frank Brangwyn. Her preferred subjects, the trees and moods of the landscape, were influenced by Japanese woodcuts and Art Nouveau.

Zang Herbertview full entry

Reference: see Auktionshaus Mehlis
Art, Antiques, Collectibles
Lot 3994 - 22 May 2014 - Herbert Zang , boats on the beach
summer scene at the sea, afloat with a broad brushwork captured painting, oil and pencil on canvas , circa 1960 , signed lower center " ZANGS " minimal need of purification , framed, dimensions: 100.5 x 70 cm approx . Artist Info : also used the pseudonym " Zabert " , German painter, graphic artist and object (1924 to 2003 Krefeld Krefeld ) , 1940-46 war service and captivity in Scandinavia, 1946-49 Stud together with Günter Grass at the Academy Dusseldorf , inter alia, at Otto Pankok , Wilhelm Schmurr and Ewald Mataré , found in 1959 as " Lankes ' input in Günter Grass's " The Tin Drum " , acquaintance with Joseph Beuys, from 1950 tours throughout Europe , Algeria , Egypt and Morocco, later traveling to Russia , Japan , in the USA and Canada and Australia, in 1952 created " references" that are characteristic of Zang's work and make it known, from 1957 image series with paint by wipers , 1960 purchase of a house in Cuceron in Provence, in 1965 moved to Paris , 1968-69 stay in New York, from 1969 again in Paris, 1969-78 undertook study trips to Japan , India, the South Pacific , Australia and Africa , 1973 expulsion from France and from then on worked in Krefeld, Dusseldorf - Kaiserwerth and Xanten, created in 1975 anti Books, 1978 Plakatübermalungen , whip images , computer images, from 1979 bladder and bump pictures, from 1982 brush settlements , from 1983 cloth pictures, from 1986 wrinkle and ridge images , from 1993 wheelchair pictures , -fed 1977 Documenta 6 in Kassel, source: Vollmer and the Internet.

Erns Ingridview full entry

Reference: numerous works by Ingrid Erns auctioned by Mossgreen Auctions, - collection of Warren & Bunty Bonython, 4 May, 2014

O’Shannessy E F Kview full entry

Reference: At Sotheby’Australia, 15 April 2014: architectural drawing, lot 312
JOHNSTONE, O'SHANNESSY & CO.
(H. J. JOHNSTONE 1835-1907; E. F. K O'SHANNESSY working 1862 - circa 1880)
'BURSWOOD', PORTLAND CIRCA 1867-1875

watercolour and gouache on silver gelatin print
signed 'Johnstone & O'Shannessy & Co Melbourne' lower right
21.5 x 30.5 cm
PROVENANCE
Private Collection, Melbourne
Estimate $2,000 - $3,000 Lot Sold: SOLD

New Zealand silver medalview full entry

Reference: 125
THE TE PAHI SILVER MEDAL, PRESENTED BY GOVERNOR KING OF NEW SOUTH WALES TO TE PAHI [TIPPAHEE] A CHIEF OF NEW ZEALAND, 1806

maker unknown, New South Wales, inscribed and dated 'Presented / By Governor King / to / TIPPAHEE / a Chief of New Zealand / during his Visit at / Sydney N S Wales / Jany 1806' recto; inscribed 'In the / 46th Year of the Reign / OF GEORGE the THIRD / by the Grace of God / King / of the United Kingdoms / of Great Britain / AND / IRELAND' verso
4.5 cm diameter

Estimate $300,000 - $500,000
LOT SOLD $300,000 (Hammer Price)
$366,000 (Hammer Price with Buyer's Premium)

Provenance

Te Pahi (Nga Puhi), Te Puna, Bay of Islands, Aotearoa/New Zealand
(possibly) John Peter du Moulin, Auckland, Aotearoa/New Zealand
Dr Edward Joseph Brooks du Moulin (1856-1900), Dubbo, New South Wales
By descent
Private Collection, New South Wales

Literature

Despatch, Governor King to Earl Camden, 15 March 1806, in J.F. Watson (ed.), Historical Records of Australia, Series 1, Vol. V (July 1804 - August 1806), Library Committee of the Commonwealth Parliament, Sydney, 1915, p. 659
'New Zealand Natives', King Papers, in F.M. Bladen (ed.), Historical Records of New South Wales, Vol. 6 (King and Bligh 1806 1807 1808), Government Printer, Sydney, 1898, p. 6
R.A.A. Sherrin and J.H. Wallace, Early History of New Zealand, H. Brett, Auckland, 1890, p. 127
Robert McNab, From Tasman to Marsden: A History of Northern New Zealand from 1642 to 1818, J. Wilkie & Co., Dunedin, 1914, p. 106
Anne Salmond, Between Worlds: Early Exchanges between Maori and Europeans 1773-1815, Viking, Auckland, 1997, p. 355
Tim Flannery (ed.), The Explorers, Text Publishing, Melbourne, 1998, p. 103
Leslie J. Carlisle, Australian Historical Medals 1788-1988 (incorporating Australian Commemorative Medals and Medalets from 1788), the author, Sydney, 2008, p. 3
Vincent O'Malley, The Meeting Place: Maori and Pakeha Encounters, 1642-1840, Auckland University Press, Auckland, 2012, p. 49
Geoffrey Sanborn, Whipscars and Tattoos: The Last of the Mohicans, Moby-Dick, and the Maori, Oxford University Press, New York, 2012, p. 3
Publishing details: Sotheby’Australia, 15 April 2014:

Art at the heart 2008view full entry

Reference: Art at the heart 2008 / Regional Arts Australia National Conference, 2-5 October, Alice Springs
by Regional Arts Australia. National Conference (2008 : Alice Springs, N.T.)
[Alice Springs, N.T.
Publishing details: Regional Arts Australia, 2008
Ref: 1000

List of past and present publications issued by Art in Australiaview full entry

Reference: List of past and present publications issued by Art in Australia Ltd., 1916-1924 [To be indexed]

Publishing details: Sydney : Art in Australia Ltd., 1924
12 p. ; 27 x 11 cm. (printed copy from NLA)
Ref: 26

Walsh Craigview full entry

Reference: Murujuga in the Pilbara / a collaborative project by Craig Walsh with Murujuga Aboriginal Corporation, Museum of Contemporary Art Australia, Rio Tinto
by Walsh, Craig, 1966-

Publishing details: The Rocks, N.S.W. : Museum of Contemporary Art Australia, 2013
Ref: 1000

String Theoryview full entry

Reference: String theory : focus on contemporary Australian art / Glenn Barkley, Tony Albert, Tess Allas, Robyn McKenzie, Noongar Doll Makers, Richard Bell, Vernon Ah Kee, Megan Robson, Yarrenyty-Arltere Artists, Tjanpi Desert Weavers
Publishing details: Sydney : Museum of Contemporary Art Australia, 2013
133 pages : illustrations (chiefly colour) ; 26 cm
ISBN 9781921034671 (paperback)
Notes
First published on the occasion of the exhibition - String theory: focus on contemporarty Australian art, Museum of Contemporary Art Australia - 16 August - 27 October 2013.
Ref: 1000

Macquarie Book Theview full entry

Reference: The Macquarie book : the life and times of Governor Lachlan Macquarie / edited by Sydney Ure Smith and Bertram Stevens
Sydney :
Publishing details: Art in Australia, 1921
Ref: 1000

A Contemporary group of Australian artistsview full entry

Reference: A Contemporary group of Australian artists / edited by Sydney Ure Smith & Leon Gillert.
Includes text by Basil Burdett and Ethel Anderson.

Publishing details: Printer (Sydney : Arthur McQuitty)
Sydney : Art in Australia, 1929
[30] p., [31] leaves of plates : ill. (some col.) ; 24 cm.
Limited ed. of 35 copies, each one containing an original coloured woodcut by Adrian Feint.
Includes text by Basil Burdett and Ethel Anderson.
Issued as Art in Australia. Third series, no. 29, September 1929.
Edition De Luxe ed.
Ref: 1009

The Sydney Bookview full entry

Reference: The Sydney book / photographs by H.Cazneaux, T. Purcell and Milton Kent

Publishing details: Sydney : Art in Australia, 1931
Ref: 1009

Purcell Tview full entry

Reference: see The Sydney book / photographs by H.Cazneaux, T. Purcell and Milton Kent

Publishing details: Sydney : Art in Australia, 1931

Cazneaux Hview full entry

Reference: see The Sydney book / photographs by H.Cazneaux, T. Purcell and Milton Kent

Publishing details: Sydney : Art in Australia, 1931

Kent Miltonview full entry

Reference: see The Sydney book / photographs by H.Cazneaux, T. Purcell and Milton Kent

Publishing details: Sydney : Art in Australia, 1931

Lindsay Normanview full entry

Reference: The isle of San : a phantasy / by Leon Gellert with five original etchings by Norman Lindsay by Gellert, Leon, 1892-1977

Publishing details: Sydney : Art in Australia, 1919
Ref: 1000

Australian and New Zealand Etchingsview full entry

Reference: Australian and New Zealand etchings / edited by Sydney Ure Smith, Bertram Stevens and C. Lloyd Jones. The art of etching / by Lionel Lindsay
Etching in Australia / by Bertram Stevens
Publishing details: Sydney : Art in Australia, 1921, [40] p., 70 leaves of plates : ill. ; 25 cm.
Ref: 1009

Heatworksview full entry

Reference: Heartwork : great arts stories from regional Australia / [written by Catherine Murphy ; edited by Lucinda Holdforth]
by Murphy, Catherine
Port Adelaide, S. Aust :
Publishing details: Sydney : Regional Arts Australia ; Australia Council, c2004, 91 p. : col. ill., maps, ports. ; 21 x 30 cm.
Ref: 1000

Spirit of Placeview full entry

Reference: Spirit of place : source of the sacred : 1998 Australian international religion, literature and the arts conference proceedings / edited by Michael Griffith and James Tulip
by Australian International Conference in Religion, Literature and the Arts ([5th] :, 1998 : [Sydney, N.S.W.])
Publishing details: Sydney, N.S.W. : Centre for Studies in Religion, Literature and the Arts, Australian Catholic University, 1999
Ref: 1000

25/25view full entry

Reference: 25/25 : 25 visual artists aged [less than or equal to] 25
=Notes: "Art & Australia and NOISE are thrilled to present the inaugural 25/25 project profiling the top twenty five visual artists in Australia" -- [p. 2].
The phrase "less than or equal to" is represented by the mathematical symbol in the title.
Life Dates [2006]
Publishing details: [Paddington, N.S.W. : Art & Australia & NOISE], [2006]
v. : ill. ; 16 x 16 cm.
Ref: 1000

2006 national directionsview full entry

Reference: 2006 national directions : regional arts / Regional Arts Australia
Publishing details:
by Regional Arts Australia
Port Adelaide, SA : Regional Arts Australia, c2005
Ref: 1000

Circus Artsview full entry

Reference: Annual report / National Institute of Circus Arts Australia

Publishing details: by National Institute of Circus Arts (Australia)
Prahran, Victoria : National Institute of Circus Arts Australia
Ref: 1000

Arts bibliographyview full entry

Reference: Arts bibliography : local government cultural policy / Australia Council Library; Chuen-Chi Brace & Janice Besch Minson

Bib ID 201808
Format BookBook
Edition [Revised edition]
Description Redfern : Deakin : Australia
Publishing details: Council for the Arts ; Australian Local Government Association, 1999
57 p. ; 30 cm.
"May 1999" - T.p.
Ref: 1000

New South Wales disability fact pack for arts and cultural organisationsview full entry

Reference: New South Wales disability fact pack for arts and cultural organisations / [written by Noelene Gration]

Notes
Title from cover.
"This booklet is a joint project of DADAA (Disability in the Arts, Disadvantage in the Arts, Australia) and the Australia Council, produced by Arts Access and presented in partnership with State and Territory arts agencies."-verso of cover.
Publishing details: [Sydney, N.S.W.] : New South Wales Government Ministry for the Arts, Australia Council for the Arts, c1998
32 p. ; 21 cm.

Ref: 1000

Hele Ivorview full entry

Reference: The Art of Ivor Hele. With preface by Sir Will Ashton. NOTE: Includes war paintings and drawings of Australian troops in World War II.
Publishing details: 1966 (Adelaide 1966). 4to. Orig. cloth. Dustjacket. (22pp.text). With 83 plates of which 42 are col. 1st ed.
Ref: 1009

Sydney Group Theview full entry

Reference: The Sydney Group's Inaugural Exhibition of Paintings and Sculpture, 7th to 28th August, 1945, in David Jones' Art Gallery. Will Ashton ... Director - 62 items (10 unpriced).
Publishing details: 1945, 8pp
Ref: 1000

Articles on Australian Printmakersview full entry

Reference: Articles on Australian Printmakers - Lionel Lindsay, Albert Henry Fullwood, John Shirlow, Adrian Feint, Sydney Ure Smith, Sidney Nolan, Noel Counihan, Arthur Boyd, Margaret Preston, Rick Amor, John Brack, Heather Shimmen Language: english. Print On Demand.
Publishing details: Hephaestus Books, 2011 print on demand
Ref: 1000

Shimmen Heather view full entry

Reference: see Articles on Australian Printmakers - Lionel Lindsay, Albert Henry Fullwood, John Shirlow, Adrian Feint, Sydney Ure Smith, Sidney Nolan, Noel Counihan, Arthur Boyd, Margaret Preston, Rick Amor, John Brack, Heather Shimmen Language: english. Print On Demand.
Publishing details: Hephaestus Books, 2011 print on demand

Weston Harryview full entry

Reference: For biographical information of Harry Weston see DAAO. Note that his dates are given as 1874-1938. However, according to the AGNSW website his dates are
(Australia 1874 – 1955).

"THE EXAMINER” [3rd November 1945]
ANNUAL PRAISED
Mr. Harry J. Weston, the well
known Australian artist, thinks "The
Examiner" Annual for 1945 is an out
standing publication.
In addition, to his high qualifications
to express an opinion from an artistic
point of view, Mr. Weston is personally
acquainted with Tasmanian scenery,
having lived in this state for a number
of years.

DAAO: cartoonist, painter, commercial artist and architect, was born in Hobart (Backhouse says Launceston), Tasmania. He was originally articled to an architectural firm in Launceston but later became a staff artist on the Launceston Examiner (1896-98). He exhibited with the Launceston Art Society in 1898. That year he left Launceston for health reasons and made his way to Melbourne, where he designed posters for Dunlop Rubber and Boomerang Brandy with Lionel Lindsay and Blamire Young. He exhibited with the Victorian Artists' Society in 1902-4 and was a member of the Prehistoric Order of Cannibals, a Melbourne Bohemian sketch club of the 1890s that included the Lindsay brothers, the Dyson brothers, Hugh McCrae, Max Meldrum and other young men. According to D.H. Souter, he had a series of adventures in a tin mine on the Klondyke and held extraordinary jobs during his early years (see David Cook).

Weston moved to Sydney c.1905 where he remained for the rest of his life. He exhibited with the NSW Society of Artists in 1907. He established his own advertising agency in 1901 [sic 1910?] – the Weston Company – and he illustrated covers (n.d. ill. Caban 51, 53), story and verse illustrations for Lone Hand 1909-10, e.g. cover for 'War Number' October 1914. He also illustrated numerous books published by the NSW Bookstall Company (see Mills), including Steele Rudd's Dad in Politics and Other Stories, and he wrote his own books, e.g. All's Well with the Fleet (Sydney, Bloxham, 1915).

According to Vane Lindesay (1994, 92), he is best remembered for the cartoons of old salts and waterfront characters he contributed to the Bulletin, though he drew a variety of cartoon subjects for it. He also drew numerous advertisements, e.g. a good ad. for Cameo cigarettes, Bulletin 16 November 1905 – a 'before' and 'after' view of an old lady, 'CAMEOS Always Make Me "Buck-up."' The ads he did for W.D. & H.O. Wills Tobacco Co. were also in the form of cartoons, e.g. 'Old Lady: "Don't cry little boy! Are you hurt?"/ Little Boy: "No, but I will be. I've dropped father's CAPSTAN TOBACCO down the grating!"' and 'The Girl: "What's th' worst thing 'appened to yer on yer last voyage, Bill?"/ Bill: "Well, we struck a rock, lost our rudder, th' cap'n died o' cholera, th' best mate was lost overboard; but worst of all, I ran out of VICE-REGAL SMOKING MIXTURE!"' (ill. Caban, 51). His NSW and Queensland Railway Department ad. for 'Halcyon Holidays in North Queensland' appeared in Lone Hand on 1 November 1909, liv.

Weston drew the cover of 'the first publication issued under the auspices of the Society of Australian Black and White Artists', The U.S.A. Fleet Souvenir, published in July 1925 to commemorate a visit of the American Fleet to Sydney (ill. Lindesay 1994, 7), which shows a big tall Yank sailor shaking hands with, and lighting a cigar for, a small young Australian sailor. This 48-page book, which cost 1/-, included cartoons and comic strips by all 25 (male) foundation members of the Club: Garnet Agnew, Jack Baird, Stan Cross, F.H. Cumberworth, W. Dowman, "Driff"(Lance Driffield), George Finey, Cecil Hartt, Joe Jonsson, Frank Jessop, Fred Knowles, George Little, Brodie Mack, Hugh Maclean, Arthur Mailey, Syd Miller, Syd Nicholls, Mick Paul, Jack Quayle, Reg Russom, Cyril Samuels, Jack Waring, Harry J. Weston, Unk White and John Wiseman; the writer and poet Will Lawson contributed verse.

Weston belonged to various art societies, including the Launceston Art Society, the Victorian Artists' Society (1902-04), the NSW Society of Artists (1907-17), the Yarra Sculptors' Society (1902-3) and the Australian Art Society (Sydney 1927-32). He exhibited with them all, mainly designs for postcards. In 1912 he established the 'Practical School of Art'. In 1915 he was in partnership with Eirene Mort and in the 1920s set up a correspondence course in drawing. His strong posterish style (possibly USA influenced) is evident in all his work, even his postcards (probably all coloured: see Cook).

Joan Kerr. DAAO

Benson Georgeview full entry

Reference: from Australian War Memorial website: George Benson

Birth date: 1886-02-04

Birth place: Australia: Victoria, Melbourne

Death date: 1960-12-12

Death place: Australia: Western Australia, Perth

George Courtney Benson began documenting the First World War well before he was commissioned as an official artist in April 1918. He enlisted in the Australian Imperial Force (AIF) in September 1914 with the 3rd Field Artillery Brigade. Soon after, Benson embarked for service with the advance guard; he was one of the first enlisted Australian artists to reach the Dardanelles. Prior to the Allied landing at Gallipoli, Benson made sketches from the deck of HMS Queen Elizabeth. His panoramic drawings included Turkish trenches and strategic features of the terrain.

Benson's artistic pursuits began in Melbourne at the National Gallery School in 1903, studying under such luminaries as Bernard Hall and Fredrick McCubbin. He subsequently found work under the well known poster designer Harry J Weston, accompanying him to Sydney to work on the Bulletin for a year. Upon returning to Melbourne, Benson further established himself as a deft illustrator and cartoonist by working on publications Sporting and Dramatic News and Punch.

Benson made topographical sketches of the salient landmarks of the Gallipoli Peninsula prior to the Allied landing and later served with the British Expeditionary Forces in France, before taking up his commission as Officer in Charge of Camouflage with the 4th Division in London. Following war's end, Benson worked for the Australian War Records Section in London, sharing space at the St John's Wood studio with other official artists Frank Crozier, Will Longstaff and James F. Scott. Benson returned to Australia in 1919 to complete a number of commissioned paintings for the Memorial.

During the First World War, Benson avidly documented his travels and experiences; from his military training at Broadmeadows, Victoria, to the 'Egyptian types' he encountered in Cairo; his time at sea and at Gallipoli, in France and Belgium. After the war, he collated a selection of sketches into a comprehensive scrapbook comprising of over 140 drawings, now held in the Memorial's collection (ART03605).

In 1931, Benson was commissioned by the University of Western Australia to paint the ceiling beams of Winthrop Hall. He went on to carry out further mural commissions in Perth, while also working as a critic and cartoonist for the West Australian newspaper.

Benson vied for a second commission with the Australian War Memorial at the beginning of the Second World War, by then in his mid-50s, but his age was seen by the Memorial as a 'handicap'. Despite not being appointed, he enlisted in the Citizen Military Forces and worked as a camouflage officer until 1943. He undertook a number of further commissions in Western Australia and worked as an art critic for the 'West Australian ' newspaper before his death in 1960.
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Hopwood Henry Silkstoneview full entry

Reference: Exhibited seascapes and Welsh and Australian scenes at Art Society of NSW (address given as Care of Messrs Olive and Partington 338 Kent Street [Sydney]) from 1889 - 1891 (in 1891 address was care of the Art Society suggesting he may have left Australia by this time. )

Begg Samuelview full entry

Reference: Samuel Begg by Douglas Lloyd Jenkins
From http://douglaslloydjenkins.wordpress.com

What we know about Samuel Begg
Posted: January 25, 2014 | Author: Editor | Filed under: Uncategorized | Tags: Begg, Illustrated London News, London, Samuel Begg, Town and Country Journal |
Illustration: Samuel Begg, ‘Self-Portrait,’ (c1880)
Mr. Samuel Begg now only exists at the very periphery of the contemporary world. He seems at first barely remembered. His works occupy only the more eclectic art collections and are, in New Zealand at least, seldom exhibited. Yet his output lives on, through on-line heritage poster and image companies that reproduce his, now out of copyright, works on demand to satisfy a market for early twentieth century images.

Begg entered the world in 1854 a resident of London and with his parents, Samuel migrated to Napier, aged six. From this far-flung port, he would spend much of the remainder of the Nineteenth century working his way back to the centre of the Empire, eventually attaining a position as an illustrator for the Illustrated London News. From there his drawings traveled back, reaching each and nearly every peripheral point of Empire. For this unique achievement he has been described as – ‘perhaps the finest black and white artist of his age’ and conversely as representing ‘the worst features’ of late Nineteenth century illustrators.

I.

Mr. Samuel Begg senior, late of Mecklenburgh Square, London arrived with family in Napier from Auckland on 2 February 1860, aboard the costal trader White Swan. (i) Within a short time the father had established himself in business as a shipping agent and built a home for himself on Napier Hill. He sent Samuel, his eldest son, to Napier Grammar School, from where he graduated in 1868 with prizes in French and Drawing (ii).

Soon after graduation Samuel jnr., obtained a position with the survey team despatched to Poverty Bay in order to layout the settlement of Gisborne. On completion he joined the Napier Provincial Government surveyors as a ‘cadet’ that were, with the German-born surveyor Charles Weber, establishing the line of a future railroad between Napier and Wellington. After the completion of this project, Weber went on to survey the Manawhatu Gorge rail line to Wellington and the young Samuel Begg went with him.

Although Begg reported his life as ‘comfortable with good lodgings on the Wellington side of the Seventy Mile bush,’(iii) he soon decided that surveying and engineering were not for him and at that he wanted to be an artist. Begg returned to Napier where, ‘I stayed … some months, loafing about and not doing much in the way of drawing or anything else.’ (iv) However with little idea how to become an artist, Begg drifted back into surveying – this time working with private surveyors breaking up township blocks around Gisborne. While there, the Editor of a local paper approached Begg to provide some illustrations – probably observational illustrations of local elections. Although Begg described them as ‘pretty bad’ he recognised them as ‘a start’ and Begg packed up and headed by steamer for Auckland.

In Auckland Samuel Begg was introduced to staff in the lithographic and printing department of the New Zealand Herald and Auckland Weekly News, probably by his brother-in-law (an amateur artist David McFarlane) with whom he later produced a panoramic view of Auckland published as a supplement to the Herald in 1877.

In a short biographical statement written years later – Begg noted that he

Must have done fairly well in Auckland, as I find I had made enough to waste some of it helping to start a paper called the Auckland Graphic, which lasted about three weeks and perhaps only two. (v)

Soon after the failure of the Graphic, of which little trace remains, Samuel Begg packed up and headed for Sydney. Here he obtained a position with Gibbs, Shallard & Co, a large firm of printers and engravers and also began providing freelance illustrations for Illustrated Australian News and Sydney’s Town and Country Journal. Years later he described his working method –

Whenever we had work to do for the Journal, we would whenever time allowed, make our way to the cliffs above Bondi, taking our boxwood with us. Vignetting for newspaper illustrations was much in vogue at the time, so our boxwood was usually a round of wood. Bondi in those days was exactly as nature had made it. Lying on the cliffs in this open-air studio the drawing would be made. Then it was Appleton’s turn, as, after getting back to Sydney, he would have the job of sitting up all night engraving it. (vi)

Samuel Begg, Sydney Exhibition medal (1879)
Gibbs Shallard & Co provided Begg with his first important commission – the face design for the medal awarded at the Sydney International Exhibition of 1879 ‘a determining landmark in the history of the Colony of New South Wales.’ (vii) Soon after Begg (and Appleton) left Gibbs Sharland’ in order to freelance, with Begg sketching in the day and Appleton engraving his drawings at night – an arrangement that suited a market in which some dailies ran only a few illustrations a week. It was, as Begg wrote, a market dominated by the demand for shipwreck imagery –

Shipwrecks were favourite subjects for illustration. I had done one of a large sailing-ship and not long after a big steamer was wrecked. Before instructing me to deal with this subject, the art editor took me aside and said solemnly, “Now we know you can draw a sailing-ship, but” (with great caution) “can you draw a steamer?” (viii)

Eventually Appleton grew tired of Australia and returned to London. Begg too was restless. He stayed in Sydney long enough to become one of the founders partners of the Sydney Bulletin, to which he provided both capital and illustrations. However the journal struggled and when Begg and fellow artist William McLeod were asked for an additional financial contribution they both demurred and withdrew from the enterprise. (ix) By the time the Bulletin had turned around, Begg had taken up a position with the Illustrated Australian News in Melbourne.

At 26, Samuel Begg was aware that he had no training as an artist and in 1881 began study at the National Gallery Art School, Melbourne. However Begg had broader educational ambitions and by the end of 1882 had saved enough money to see himself through a couple of years of study in Paris.

By the time Samuel Begg left the colony he had secured a small but permanent place in the story of Australian graphic art. He had provided the Illustrated Australian News with eyewitness engravings of the Jolimont railway and designed the face of the Sydney Exhibition Medal. He had also been a founding partner in the establishment of the most important Australian journal of the period – the Sydney Bulletin – and had provided illustrations for its first issue.

The plans of many an ambitious New Zealander, then and now, comes to grief in Sydney or Melbourne. When seem as a young man, not yet 30, from a small settlement in New Zealand, Begg had done well. However he was not yet much more than a third of a way through the span of a normal career. What now lay ahead was something altogether more challenging. He needed now to make sufficient a name for himself at home in Britain, that those back in New Zealand and the Australian colonies might at least acknowledge his achievement.

After a difficult passage to Europe, Samuel Begg arrived in Paris in 1883 in order to study at the Académie Julian, for what he described ‘as a strenuous few years’ but which may, interrupted for periods spent making a living, have stretched on for most of the rest of the decade. Records indicate that Begg remained at the Académie until 1889 and certainly his own sketch biographical narrative resumes in the early 1890s when he was attempting to establish himself permanently in London as an illustrator

Samuel Begg struggled in the London publishing scene for the first years of the ‘nineties. However a small windfall allowed Begg to head home to New Zealand – supplying drawings to Pictorial World as he progressed. Begg, who met and married Ada Nelson of Hastings during this trip, now faced the prospect of supporting a wife with only the erratic income of a freelance illustrator only tenuously connected to Pictorial World (‘not a very prosperous paper’) to which he was selling illustrations as a way of paying for his present trip to the colony.

Although Begg must have questioned the wisdom of a return to London, he took the plunge and by the mid 1890s had moved from Pictorial World to Black & White (a paper of ‘better standing) to regular employment with the Illustrated London News. Begg had now had secured a position at the leading illustrated magazine of his time, a position that ‘after all the time wasted chopping and changing’, Begg came to relish. He remained at the Illustrated London News until he retired, aged 65, in 1919.

Samuel Begg in his studio (1912).
Samuel Begg in his studio (1912).
II.

New Zealand, and indeed Australia, are now less keen to claim Samuel Begg as their own, than they were on his death in 1936, when the obituaries where generally fulsome. If the contemporary post-colonial voices have doubts, the English have also grown dismissive, perhaps none so more than Simon Houfe, who in an uncomfortably brief entry in his Dictionary of 19th Century British Book Illustrators and Caricaturists, dismisses Begg’s works as characterized by ‘the worst features of later illustrations.’ (x) Houfe’s complaint is that Begg’s work came too close to the photograph and argues technical perfection in representing almost photographic scenes with heavy use of body-colour but no imagination.’ James Thorpe in his English Illustrators: the Nineties, considers Begg’s work as ‘so close to that medium [photography] as to be almost unnecessary.’ (xi)

Samuel Begg, Seating Five Persons c 1905.
These interpretations are influenced, perhaps too strongly, by the late twentieth century lack of affinity with demonstrations of technical skill. Refusing to engage with Begg’s all to obvious level of craft, his proficiency is skirted around in order that he can be accused of lacking imagination. Houfe and Greenwall’s responses to Begg’s work are at odds with those of his contemporaries, such as this reviewer in London’s Daily Chronicle, who described one of Begg’s appearances at the Royal Academy exhibition; —

One of the most astonishing drawings in this portion of the collection (the ‘black-and white ‘ room) is a group of excited sightseers at the races. It is entitled In front of the grand stand at the finish for the Melbourne Cup, No. 1648, by Samuel Begg. In the crowd of faces eagerly intent upon the struggle going forward we have portrayed those of every class, from the aristocrat to the parvenu, with expressions combining hope, fear, curiosity, and in some instances anxiety bordering upon despair. Such a scene opened a wide field for the artist where neither success nor failure could be other than in the highest degree. Mr. Begg, however, has not failed, but has managed a very difficult subject with singularly artistic skill.” (xii)

By overemphasizing values specific to the last decade of the Twentieth century, writers such as Greenwall and Hulfe over estimate the importance of imagination (in which No 1648 is by no means lacking) in a period in which imagination was the least valued component in the portfolio of a commercial graphic artist. This is the world of an artist whose job it was to be an eyewitness and in being so to compete with, and essentially keep at bay, the developing field of photography. That Begg’s work as near photographic as the human hand could achieve was his great triumph.

There is a second area in which Begg’s success-in early Twentieth century terms became a late Twentieth century discomfort. Samuel Begg, the busy commercial illustrator produced a broad range of subject matter; from sporting prints, The Finish of the Marathon Race, the Olympic Games, (1908) and current events, Louis Bleriot Flies the Channel (1909), through contemporary political scenes, A Home Rule Defeat (1912) and historical recreations The Presentation of the Spurs and Sword at the Coronation of Henry VI (1901) to contemporary portraits and contemporary social observation pieces, often with humorous elements, such as To Seat Five: Gentlemen Struggle to read their newspapers in an over crowed carriage (c1905). However Begg is now perceived largely as an illustrator of the doings of royalty – primarily although not exclusively on those of the British royal family.

Samuel Begg, King George V (c1913)
This close association, through which Begg occupied a privileged position as something close to an official artist to the royal family – at least where the illustrated magazines were concerned – when looked through late Twentieth century eyes, tarred Begg with the brush of the discredited idea of the British Empire and perhaps of royalty itself. Again it became too easy to dismiss Begg. He was an illustrator whose works ‘mostly consisted of members of the Royal family visiting troops in hospital or receiving news from the Front’ (xiii) or ‘an illustrator of public functions and events.’ (xiv) Such was the enthusiasm of anti-Begg sentiment among post colonial academics that one biographer reported Begg to have spent the period from 1896 to 1913 drawing illustrations of the Boer War. (xv)

Samuel Begg, Queen Mary (c1913)
It is some how unlikely that Begg, a commercial artist, able to churn out a good commercial shipwreck image on demand from the age of twenty-five and who knew his market, was still producing Boer war images with any regularity in 1913, eleven years after hostilities ceased. Yet Begg gets hopelessly entangled in the imperial project – at a personal level through his depictions of the royals and at a global level through his depictions of the Boer and the First World wars at which he was so effective. Begg, whose output was so often in celebration of the times in which he lived, was, by the turn of the twenty-first century, himself unable to be celebrated.

III.

The digital age complicates Samuel Begg in a way he could not have foreseen and that his critics have similar issues in comprehending. A broad range of Begg’s subject matter, some popular, some political, some obscure, are available through numerous online print and poster galleries. Begg’s works are once again finding an audience able and willing to celebrate their achievement as illustrations. Made available through new digital technologies, Begg’s works are now there to be admired as the expressions of the skills of a craftsperson/artist whose abilities parallel but predate those that we now have through fingertip ready software programs.

In the same way that he once used the Illustrated London News, to communicate to the Empire, Begg now reaches around a generally dismissive critical inertia, to speak directly with a public still hungry for his style of imagery. We are reminded that at its height, during Begg’s tenure, the Illustrated London News was one of the most popular magazines in the world – and Begg one of its senior illustrators. When On 19 May 1900, his black and white painting The Queen listening to a dispatch from the Front was donated to the National Bazaar for War Funds, the Illustrate London News immediately announced the publication of 1,000 signed photogravures – today subscribers would be invited to download.

Douglas Lloyd Jenkins

Nerli Girolamoview full entry

Reference: Robert Louis Stevenson and Count Nerli in Samoa: The Story of a Portrait by Roger Neill. Includes extensive biographical information on Nerli
Publishing details: Red Lion Press 1997, 12mo. Softcover. 75pp. Index. Illustrated with b&w frontis of the portrait and other in-text.

Nerli Girolamoview full entry

Reference: postcard - portrait of Robert Louis Stevenson in National Portrait Gallery of Scotland, . located in Robert Louis Stevenson and Count Nerli in Samoa: The Story of a Portrait by Roger Neill
Publishing details: Red Lion Press 1997, 12mo. Softcover. 75pp. Index. Illustrated with b&w frontis of the portrait and other in-text.

Colonial and Indian Exhibition of 1886view full entry

Reference: Official catalogue. + Report of the Royal Comission for the Colonial and Indian Exhibition
Publishing details: London, Clowes, /1887., 1886
London, Clowes, 1886/1887.;
Ref: 1009

Colonial and Indian Exhibition of 1886view full entry

Reference: (EXPO EXHIBITION CATALOGUE COLONIAL INDIAN AUSTRALIA COLONIALISM BRITISH COLONIES IMPERIALISM GEOGRAPHY AGRICULTURE SETTLEMENT ILLUSTRATED EARLY ARCHITECTURE BUILDING CIVIC HISTORY GEOLOGY GOVERNMENT GUIDE VICTORIA BOSISTO, JOSEPH & VARIOUS)
Publishing details: John Ferres, Melbourne, 1886
large 8vo. 108 pp + numerous plates, all present. 8vo - over 7Â¾" - 9Â¾" tall
Ref: 1009

colonial artview full entry

Reference: see Colonial and Indian Exhibition of 1886 (EXPO EXHIBITION CATALOGUE COLONIAL INDIAN AUSTRALIA COLONIALISM BRITISH COLONIES IMPERIALISM GEOGRAPHY AGRICULTURE SETTLEMENT ILLUSTRATED EARLY ARCHITECTURE BUILDING CIVIC HISTORY GEOLOGY GOVERNMENT GUIDE VICTORIA BOSISTO, JOSEPH & VARIOUS)
Publishing details: John Ferres, Melbourne, 1886
large 8vo. 108 pp + numerous plates, all present. 8vo - over 7Â¾" - 9Â¾" tall

Wakelin Rolandview full entry

Reference: Wakelin’s ‘The Holiday, 1916 offered at Shapiro Auctions, Sydney, 7 May, 2014, lot 45. Inscribed ‘Painted on a Bank Holiday’ (possibly 8 July). This work was exh at RAS and was in Wakelin Retrospective, 1967. A conditio n report by David Stein with Shapiro catalogue and additional photograph. [Catalogue entry: LOT 045
Roland Shakespeare Wakelin (1887-1971)

The Holiday, Mrs Wakelin at Balls Head, 1916
oil on board, signed l.r.c. 'R.S. Wakelin'
EST.
$8,000 - $12,000
MEASUREMENTS 22 x 40 cm
PROVENANCE Miss M.E. Pitt, Sydney, Private Collection, Sydney
LABELS Roland Wakelin retrospective 1967
EXHIBITED Royal Art Society of NSW Annual Exhibition, Department of Public Instruction, Sydney, September, 1916, catalogue no. 77, Roland Wakelin Retrospective, Art Gallery of NSW, 8-30 April 1967, Newcastle City Art Gallery, 10-13 May 1967, catalogue no. 5 (Vendor: Marie Elizabeth Josephine Pitt - see ADB }

Ref: 132

Sibley Andrewview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.
Four linocuts
SIBLEY, Andrew

Written by Robert C. Littlewood. Linocuts by Andrew Sibley. Poem by Marguerite Joan Sibley. Boston, Melbourne, Chateau Bosgouet : The Lytlewode Press, 2014. Folio, gilt-illustrated full leather, green endpapers, pp. [viii]; 32; [8], frontispiece, title page printed in red and black, illustrated with four original Andrew Sibley linocuts, each individually hand-coloured and signed by the artist. Housed in a gilt-lettered cloth bound clamshell box, and containing the unbound sheets to the publication 'The Garden : a poem by Joan Sibley' Illustrated by Andrew Sibley, Irena Sibley, Benedict Sibley and Jonathan Sibley.
Publishing details: Melbourne : The Littlewood Press, 1993, limited to 10 copies with seventeen original hand-colouted linocuts, many signed. These sheets to 'The Garden' were stored in the studio of Irena Sibley and are storm affected, thus never bound and presented as a complement to the work 'Four Linocuts' . 'Four Linocuts' is limited to 100 copies, each signed by the artist and publisher, this one of the deluxe editions, limited to 9 copies, which is in a purpose built clamshell box with the original sheets for the book 'The Garden' encased within. The work contains a detailed biographical essay by Robert Littlewood which assesses the background and influences in life for the artist Andrew Sibley, as well as a poem by his mother Joan Sibley and original illustrations by the artist. A fine work from The Lytlewode Press, the first with this new imprint. $ 2,750.00 AUD
Ref: 1000

McLACHLAN, Phyllis, 1905-1988view full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.Untitled [Woman with a blue cockatiel]
McLACHLAN, Phyllis, 1905-1988
# 7141
Circa 1930. Watercolour and ink on paper, signed at lower right 'Phil McLachlan', 200 x 180 mm (exposed image), glued at edges to old mount, scattered foxing to the image and board mount. A wonderful image of opulence, with a dash of decadence.
Phyllis (Phil) McLachlan was a talented Sydney artist of the 1920s and 30s who studied with Thea Proctor at the Julian Ashton School. She is best known for her cover designs for The Home and Triad magazines, to which the present work is possibly related. She exhibited at the Society of Women Painters in 1924, and in 1930 married noted naval officer and diplomat John Collins. McLachlan's work is rare in the market or in public collections, however, an archive of her naval costume drawings is held by the Mitchell Library.
$ 1,850.00 AUD

Brown Peter illustrator 1776view full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

[ORNITHOLOGY] Nouvelles illustrations de zoologie, contenant cinquante planches
BROWN, Peter (illustrator)
# 7649
enluminées d'oiseaux curieux, ... par Pierre Brown. Londres : imprimé pour B. White, 1776. = New illustrations of zoology, containing fifty coloured plates of new, curious, and non-descript birds, with a few quadrupeds, reptiles and insects. Together with a short and scientific description of the same. By Peter Brown. London : Printed for B. White, 1776.
THE FIRST RECORDED ILLUSTRATION OF A BIRD FROM THE EASTERN COAST OF AUSTRALIA.
Quarto, early nineteenth century half green morocco over marbled boards (rubbed, edges worn), spine with raised bands, gilt ornament and lettering, marbled endpapers, separate titles in French and English, [8],136 pp, 50 copper engraved plates, plates 1 - 14 being hand coloured, among these the most significant plate, the earliest published depiction of a bird of New Holland, the blue-breasted parrot (rainbow lorikeet), the description stating that 'This bird is in the possession of Robert Child, Esq., Banker in London', parallel English and French texts, a fine, fresh copy, the plates clean throughout and the colouring exceptionally vivid; although it is unusual to find a copy with a high proportion of uncoloured plates, this provides an opportunity to compare Brown's engravings in their two states.
Rare. Copies are recorded in three Australian collections (State Library of New South Wales; State Library of Victoria; Australian Museum Research Library).
$ 5,000.00 AUD
Ref: 1000

Friend Donaldview full entry

Reference: Coogan’s Gully : young person’s guide to bushranging, ecology and witchcraft (original, unabridged)
FRIEND, Donald (1915 - 1989)
# 7694
Melbourne : Gryphon Books, [c1980]. A unique, handmade copy: 'A greatly abridged version edited by Richard Griffin was published by Gryphon Books Pty. Ltd. 1979. This paste up using the author's holograph manuscript and proof pages from the published book was compiled by Richard Griffin' (note on verso of title). Folio, fine blue cloth boards, upper board with pictorial and printed onlays, spine with silver lettered label, unpaginated, contains a facsimile of Friend's complete, original manuscript copy laid down alongside the proof illustrations, the final [2] leaves with a newspaper cutting on Coogan's Gully from the SMH, March 31, 1979, together with an invitation to the opening of the Holdsworth Galleries' exhibition of Friend's illustrations for the book on November 13, 1979, and Friend's holograph note which mischievously describes his book thus: 'According to the Author "Coogan's Gully" is not a children's book, unless the term "child" is applicable to literate & sophisticated geriatrics who have entered a vigorous second childhood'; [TOGETHER WITH] Author's copy of the first edition of Coogan's Gully : a young person's guide to bushranging, ecology and witchcraft (Melbourne : Gryphon Books, 1979. Oblong quarto, yellow cloth boards in dutsjacket, a very good copy), inscribed by Donald Friend on the half-title: 'For my favourite person (DF). Author's Copy. The Curse of Tutankhamen on the thieving creature who dares take this volume away, lousy as it is. 15th Nov. 79'.

From Douglas Stewart Fine Books catalogue, May, 2014.
Ref: 1000

Zoological Keepsakeview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

The Zoological Keepsake; or, Zoology, and the Garden and Museum of the Zoological Society
[Zoological Society of London]
# 7767
for the year 1830. London : Marsh and Miller, n.d. [c. 1830]. First edition. Duodecimo, contemporary half morocco, gilt, lightly rubbed, presentation inscription dated 1831 to first blank, pp x, 262, [1], [1, advertisements], top edge gilt, 22 wood-engraved plates including one double-page view of the gardens, one plate of the ostrich with old repair to verso, mild foxing to endpapers, a very good copy.
Unofficial guide to the then newly instituted Zoological Society of London, written for young readers, in which an adult accompanies a group of children on a tour of the Garden, relating its history and introducing the various exotic animals. Among these are several Australian animals, including the kangaroo, a brief description of which appears on pp 208-9 with an accompanying plate, after Stubbs; the kangaroo also appears in another plate showing several animals in their enclosure, including reindeer and the ostrich. There isa section on the Emoo-House, which includes information about the emu, cassowary, lyrebird (Menura superba), the latter illustrated. Other Australian references are made to pelicans, farming merino sheep and penguins on Flinders Island.
Scarce. A single copy is recorded in Australian collections (National Library of Australia).
$ 1,450.00 AUD

Ref: 1000

Stainforth Martinview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

An album of photographs of horse paintings and illustrations by Martin Stainforth, circa 1928
STAINFORTH, Martin, 1866-1957; CROWLE, William A. (compiler, attributed)
# 7659
Photograph album, oblong quarto, 170 x 250 mm, limp boards covered in suede (edges a litlle frayed), original ties, containing 14 gelatin silver photographs, various dimensions to 190 x 120 mm, laid down on the album leaves of thick card, including a magnificent portrait of the renowned equine artist seated in front of a wall of his paintings, and another, signed in full by Stainforth and dated 18/3/21, captioned 'My last model "Poitrel" Randwick 25.2.21', the majority of the remainder being photographs of his works including the finish of the Craven Plate (Randwick, 1919) and Trafalgar (Randwick, 1912), with 5 photographs of non-equine illustrations and a magazine cutting which explains that 'The numerous admirers of the art of Mr. Martin Stainforth will regret to hear that he is relinquishing his profession and has actually left Australia to setlle in the North Island of New Zealand. [The British-born artist Martin Stainforth lived in Australia from 1908 until 1928, when he moved to New Zealand]. Mr. Stainforth is recognised as the most celebrated animal painter in this country, and his studies include all the most important racehorses that have been seen on our racecourses for many years. Amongst them are Carbine, Trafalgar, Desert Gold, Comedy King, and Woorak ...'; all photographs and album pages in very good condition, the inside front cover with the ex-libris of William A. Crowle (a Sydney bibliophile who is known to have owned paintings by Stainforth) and later bookplate of Tom Mathieson; [TOGETHER WITH] a holograph note in pencil on Martin Stainforth's letterhead (single quarto sheet, toned and creased), Norwich Chambers, Hunter Street, Sydney, dating to between 1920 and 1928, addressed to Mr. Crowle: 'I require the press cuttings to aid the compilers of my book - please return. M. Stainforth. May find more photos will give particulars'; the wording in Stainforth's note suggests that the artist himself was the source of the photographic prints in the album we offer here.
$ 1,250.00 AUD

Ref: 1000

Lindsay Ruby (Ruby Lind) 1887-1919view full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Untitled [Girl with serpent]
LINDSAY Ruby (1887 - 1919)
# 7791
Gouache on paper, measuring 205 x 130mm, sketched in yellow, white in black, of a girl with party dress and large hat dancing with a large snake. Undated, circa 1910 (?). Initialled lower right in the hand of her husbane Will Dyson 'R.L.' and inscribed 'To Bernard Cronin from Will Dyson'. Laid on board with early mount.
A stunning small coloured work by Ruby Lindsay encompassing the spirit of the fin-de-siècle.
Ruby Lindsay was the equally talented sister of more well known artists Norman and Lionel Lindsay, renowned for her book illustrations during the early twentieth century, yet dying tragically young in 1919 as a result of the outbreak of influenza. This charming work is unsigned, yet marked with her initials by her husband Will Dyson, and bears a presentation inscription to his good friend Bernard Cronin (1884 - 1968). Cronin was born in England and moved to Australia with his family in 1886. He took up writing while working for the Department of the Navy and published his first book in 1918. He also made contributions to The Bulletin (along with Dyson and Lind), and later became a journalist, writing for the Melbourne Herald.
A delightful composition, gifted by Ruby's husband to a close friend and important literary figure.
$ 2,750.00 AUD

Baldessin George 1939-1978view full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

George Baldessin. Six etchings. With text by Jenny Zimmer
BALDESSIN, George (1939 - 1978)
# 7793
Townsville : Lyre Bird Press, 2000. Folio, printed wrappers, pp. 24, folded sheet as issued, five original full sheet etchings in black and white and one double page etching in colour by George Baldessin, text by Jenny Zimmer, in a folding clamshell box (a little scuffed). Limited to 25 numbered copies. Rare publication from the Lyre Bird Press with 6 original etchings by the famous Melbourne printmaker.
Only two copies are recorded in Australian collections (State Library of Victoria and State Library of Queensland)
$ 12,000.00 AUD
Ref: 1000

Bullen Henry Lewisview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Henry Lewis Bullen : world-famed printing craftsman.
Printing Industry Craftsmen of Australia. Victorian Division; GARTNER, John
# 7171
[Melbourne : Composed and printed by the Printing Department of the Melbourne Technical College, 1935]. Edition limited to 100 copies. Single sheet, 290 x 230 mm, text printed in black with decorative initial in red, green and white, in folded cover 310 x 250 mm, a near fine copy. THP 708.
A tribute to Henry Lewis Bullen (1857-1938), the Ballarat-born printing craftsman who achieved renown in the United States, eventually becoming head of the Typographic Library and Museum of the American Type Founders Co. in New York.
Copies are recorded in five Australian collections (State Library of Queensland; University of Queensland Library; Monash University Library; RMIT University Library; State Library of Victoria).
$ 250.00 AUD
Ref: 1000

Gartner Johnview full entry

Reference: see Bullen Henry Lewis From Douglas Stewart Fine Books catalogue, May, 2014.

Henry Lewis Bullen : world-famed printing craftsman.
Printing Industry Craftsmen of Australia. Victorian Division; GARTNER, John
# 7171
[Melbourne : Composed and printed by the Printing Department of the Melbourne Technical College, 1935]. Edition limited to 100 copies. Single sheet, 290 x 230 mm, text printed in black with decorative initial in red, green and white, in folded cover 310 x 250 mm, a near fine copy. THP 708.
A tribute to Henry Lewis Bullen (1857-1938), the Ballarat-born printing craftsman who achieved renown in the United States, eventually becoming head of the Typographic Library and Museum of the American Type Founders Co. in New York.
Copies are recorded in five Australian collections (State Library of Queensland; University of Queensland Library; Monash University Library; RMIT University Library; State Library of Victoria).
$ 250.00 AUD

Harrison Gwen, Sue Anderson, Peter Lyssiotisview full entry

Reference: Dancing over dark waters : the chapbook
HARRISON, Gwen; ANDERSON, Sue and LYSSIOTIS, Peter

A chapbook based on the artists' book, Dancing over dark waters. The text is reset, and different images unique to this book appear, except for the cover, which reproduces part of an etching from the main work. The other images comprise linocut relief prints, and an interleaved etching on acid free tissue, which varies in different copies of the edition. The work reveals the three artists' response to one of Sydney's darkest historical colonial sites, Cockatoo Island, an imperial prison, industrial school, reformatory and jail. The text also invokes the present day situation of refugees and refers to "those other islands we use as a noose -- Nauru, Christmas Island, Timor, Malaysia," asking: "When will the time come ... when compassion will span the dark waters like an indestructible bridge uniting us and the best part of our dreams for the future with the best part of their dreams for the future." - NLA website.
[From Douglas Stewart Fine Books catalogue, May, 2014, # 7697.]
Publishing details: Sydney : the artists, 2012. Quarto, hand-printed linocut wrappers, pp. [32], illustrated with original linocuts. Edition limited to 30 signed copies, each copy varies somewhat in colour. A smaller format edition of the artist's book 'Dancing over Dark Waters', limited to 7 copies, in larger format. The textual content in both editions are the same.
Ref: 1000

Thorpe hallview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

[HALL THORPE] Abraham Lincoln
THORPE, John Hall (1874-1947)
# 7734
s.l. [but U.S.A.?] : s.n., [circa 1925]. Broadside, single sheet, 300 x 155 mm, photogravure process, printed one side only, the upper section with a reproduction of a Hall Thorpe woodcut of Lincoln, the lower section with a poem by Hall Thorpe (his name printed at the foot) in praise of the great American President, possibly issued to commemorate the sixtieth anniversary of Lincoln's assasination; horizontal fold, creasing and edge tears.
Sydney-born printmaker and illustrator John [Jack] Hall Thorpe arrived in England in 1902. His woodcuts, particularly those of flowers, expressed his ideal of a decorative, domestic aesthetic. From around 1920 these woodcuts, 'democratic' in the sense that they were affordable and could be enjoyed by people in their homes, proved enormously successful for Thorpe internationally, particularly in the U.S.A.
The broadside we offer here appears to have been separately issued, perhaps with prints of Thorpe's Lincoln woodcut, and is unrecorded; neither can we locate any reference to Thorpe's portrait of Lincoln.
$ 60.00 AUD
Ref: 1000

Breninger Warrenview full entry

Reference: [Expulsion of Eve. Series III, 1980-88, statement 1988
BRENINGER, Warren C. (1948 - )
From Douglas Stewart Fine Books catalogue, May, 2014. # 7729
[Melbourne? : W. Breninger?, 1988?]. Quarto, printed wrappers (slightly sunned and and a little rubbed), roneo, [66] pp, [44] pp of plates reproducing the Melbourne artist's painted and photographic portraits, compiled in the manner of an artist's book; loosely inserted is the catalogue for Breninger's exhibition of paintings Amor vincit omnia, at the Charles Nodrum Gallery, Richmond, Melbourne, 1992, single sheet of card, folded into [4] pp quarto, colour illustration to front, fine.
Copies are recorded in five Australian collections (Art Gallery of South Australia; Murdoch University Library; Queensland Art Gallery Research Library; University of Queensland Library; Australian National University Library).
$ 75.00 AUD
Ref: 1000

Blackman Charlesview full entry

Reference: Apparition, Charles Blackman and Al Alvarez. Reproduction of Alvarez's manuscript poems and 7 full page colour plates after Blackman gouaches tipped-in. ‘A fine illustrated work by Charles Blackman.’

Publishing details: Brisbane : University of Queensland Press, 1971. Folio, gilt-illustrated cloth in illustrated dustjacket pp. 52,

Ref: 1000

Friend Donaldview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

A mellow fruitfulness : 25 still lifes by Donald Friend
FRIEND, Donald (1915 - 1989)
# 7730
[TOGETHER WITH] A mellow fruitfulness : still lifes by Donald Friend Volume II. [Melbourne] : Gryphon Press, 1986 and 1987. Two unique handmade books created by Donald Friend's publisher, Richard Griffin, expressly for the artist, containing a total of [58] colour photographs of a selection of Friend's still life paintings. Two volumes, folio, bound in vellum with contrasting burgundy and green leather spines, upper boards with pictorial onlays, manuscript half-titles and titles by Griffin, the first volume with a manuscript contents page giving the titles of the paintings and their dimensions, followed by a full-page manuscript letter from Griffin to Friend, which closes 'It was most distressing that you should have recently lost those magnificent Balinese rings to a thief, however I have as a result had the great joy of holding these paintings in safekeeping for you and have photographed them and made this volume for you, With great affection and love, Richard'; frontispiece with black and white photographic portrait by Griffin of the artist in the back garden of his Paddington terrace house, followed by a leaf with a manuscript quote from John Keats' poem, Ode to Autumn: 'Season of mists and mellow fruitfulness', the [25] colour photographs themselves laid down recto only of [13] leaves, the final leaf with a manuscript quote from Keats' Endymion: 'A thing of beauty is a joy forever'; the second volume with manuscript half-title, title and leaf with quote from Ode to Autumn, followed by [33] colour photographs laid down recto only of [14] leaves, the final leaf with manuscript quote from Endymion; the two volumes in their original state, the first volume housed in a custom burgundy cloth slipcase.
$ 7,500.00 AUD
Ref: 1000

Tucker Albertview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Playing with girls
PRANG, Julian
# 7714
Presented by Redmond Phillips. Drawings by Albert Tucker. Melbourne : Reed & Harris, 1945, Quarto, illustrated card wrappers (front panel very good, rear panel with heavy silverfishing), pp. 44, pale waterstain lower edge, neat inscription to hald-title, with numerous full page illustrations by Albert Tucker. A rare early illustrated work by Albert Tucker by the publishing firm of Reed & Harris, publishers of the avant garde Angry Penguins magazine.
$ 275.00 AUD

Ref: 1000

Smart Jeffreyview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Jeffrey Smart. A man is illogical on horseback; but in a satellite, surreal
QUARTERMAINE, Peter
# 7713
Foreword by Germaine Greer.
Publishing details: Melbourne : Gryphon Books, 1983. Quarto, cloth bound boards in illustrated dustjacket, pp. 131, colour plates (many tipped-in).
Ref: 1000

Oppen, Monicaview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Botanikos (deluxe edition)
OPPEN, Monica
# 7701
Sydney : Ant Press, 2007. Oblong folio, hand-stitched timber boards, pp. [38], illustrated, an envelope pasted on one leaf holding an additional small booklet 'It is Time!'. Housed in a lettered buckram clamshell box (a couple of very minor dents). Limited to 10 copies plus 3 artist's proofs, this is the 'Exhibition copy' and is out of series. The first edition of 'Botanikos' was created in 2007 and sold out, this is the exhibition copy for artists book displays, a second edition of 6 copies followed in 2012.
$ 880.00 AUD
Ref: 1000

Oppen, Monicaview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Dark forest
OPPEN, Monica
# 7699
Sydney : Ant Press, 2009. Folio, plain black card wrappers with red stitching in buckram slipcase, pp. [16], printed offset and intaglio, with the artist's hand-written text and hand-painted additions. Limited to 10 copies signed by the artist. A very dark and deeply personal artists book exploring a failed relationship.
"This work is about love; about power and powerlessness; about action and inaction; about sacrifice, betrayal and loss. The trees have been cut down. The trees are burning. The forest was a world rich with creativity and love. The binding is so flimsy, only a wrapped around sheet of paper, because the world inside the work is collapsing. A more substantial binding would have not have been in keeping with the work. It is in a slipcase because it is private; a personal unhappiness."--Bibliotheca Librorum apud Artificem.
$ 330.00 AUD
Ref: 1000

Oppen, Monicaview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Morning
OPPEN, Monica
# 7698
Sydney : Ant Press, 2012. Octavo, blind-etched buff wrappers, pp. [12], some pages folding, illustrations on tracing paper. Limited to 15 copies signed by the artist.
An artist's book that explores the recent history of Iraq through a modern first person text about a woman going about her daily life (visiting the market, preparing her evening meal), which also hints at the loss of her husband and sons. Vertical foldouts reveal another ancient text (an extract from the Epic of Gilgamesh, in which Gilgamesh mourns the death of his friend Enkidu), printed in a different colour ink with a light background image. The main illustrations, on semi-transparent vellum paper, are photos of men's clothing, suggesting the woman's sons' clothes ready for their return or perhaps Enkidu's clothes, folded and ready to be buried with his body. The cover depicts a Sumerian clay tablet, with the Akkadian letters for part of the Gilgemesh text (beginning with "I shall weep for Enkidu...") deeply embossed into the heavy cover stock. (Partly adapted from text prepared by the artist for the Book Arts website at the Centre for Fine Print Research, UK) - NLA website.
$ 330.00 AUD
Ref: 1000

Friend Donaldview full entry

Reference: An alphabet of owls et cetera by Donald Friend.

With a text suitable for all children, grown-ups, non-readers, ornamental hermits. Et alia. This copy is out of series and inscribed in publisher Richard Griffin's hand 'Author's copy', further signed by the artist 'Donald Friend. With marginal corrections by the author DF'. Friend has inscribed initials next to characters in the text, identifying them as being based on the real life Donald Friend or Richard Griffin. For example, when the printed text mentions a 'temperamental Irish harpist', Friend has marked this with an asterisk and inscribed below 'since identidied as Richard Griffin, the well known Publisher of fine books (D.F.)'. An unique copy of this fine example of Australian private press.
$ 2,500.00 AUD (From Douglas Stewart catalogue)
Publishing details: Melbourne : Gryphon Books, 1981. Folio, full buckram with gilt-lettered morocco inlay, pp. [32], an alphabet book, each page with a print by Donald Friend and accompanying text. Limited to 150 signed copies.
Ref: 1000

Lindsay Normanview full entry

Reference: Creative effort. An essay in affirmation
LINDSAY, Norman. Lindsay's philosophies on art and life.

Publishing details: London : Cecil Palmer, 1924. First UK edition. Octavo, cloth bound boards with paper title label to spine, pp. 292,
Ref: 1000

Modern Art Newsview full entry

Reference: From Douglas Stewart Fine Books catalogue, May, 2014.

Modern Art News. Volumes 1, No. 1 – No. 2 (complete).
[MORA].
# 1540
Melbourne: Modern Art News, 1959. Editor: Georges Mora. Large quarto, illustrated wrappers (ex-institution stamp, one issue with filing holes), 16 pp. per issue, illustrated. Features reviews and criticisms of the Antipodeans exhibition, letters by Mirka Mora, illustrations, reviews of the Museum of Modern Art etc.
$ 175.00 AUD
Ref: 1000

Mora Mirkaview full entry

Reference: see Modern Art News - From Douglas Stewart Fine Books catalogue, May, 2014.

Modern Art News. Volumes 1, No. 1 – No. 2 (complete).
[MORA].
# 1540
Melbourne: Modern Art News, 1959. Editor: Georges Mora. Large quarto, illustrated wrappers (ex-institution stamp, one issue with filing holes), 16 pp. per issue, illustrated. Features reviews and criticisms of the Antipodeans exhibition, letters by Mirka Mora, illustrations, reviews of the Museum of Modern Art etc.
$ 175.00 AUD

Mora Georgesview full entry

Reference: see Modern Art News - From Douglas Stewart Fine Books catalogue, May, 2014.

Modern Art News. Volumes 1, No. 1 – No. 2 (complete).
[MORA].
# 1540
Melbourne: Modern Art News, 1959. Editor: Georges Mora. Large quarto, illustrated wrappers (ex-institution stamp, one issue with filing holes), 16 pp. per issue, illustrated. Features reviews and criticisms of the Antipodeans exhibition, letters by Mirka Mora, illustrations, reviews of the Museum of Modern Art etc.
$ 175.00 AUD

Antipodeansview full entry

Reference: see Modern Art News - From Douglas Stewart Fine Books catalogue, May, 2014.

Modern Art News. Volumes 1, No. 1 – No. 2 (complete).
[MORA].
# 1540
Melbourne: Modern Art News, 1959. Editor: Georges Mora. Large quarto, illustrated wrappers (ex-institution stamp, one issue with filing holes), 16 pp. per issue, illustrated. Features reviews and criticisms of the Antipodeans exhibition, letters by Mirka Mora, illustrations, reviews of the Museum of Modern Art etc.
$ 175.00 AUD

Museum of Modern Artview full entry

Reference: see Modern Art News - From Douglas Stewart Fine Books catalogue, May, 2014.

Modern Art News. Volumes 1, No. 1 – No. 2 (complete).
[MORA].
# 1540
Melbourne: Modern Art News, 1959. Editor: Georges Mora. Large quarto, illustrated wrappers (ex-institution stamp, one issue with filing holes), 16 pp. per issue, illustrated. Features reviews and criticisms of the Antipodeans exhibition, letters by Mirka Mora, illustrations, reviews of the Museum of Modern Art etc.
$ 175.00 AUD

Harcourt Clewin (1870 -1965)view full entry

Reference: listed on Ebay 2 May, 2014 (item 371051667639): This is an Interesting, RARE, Original, unframed, ink pen on Paper, by well known AUSTRALIAN Listed Artist, CLEWIN HARCOURT, (1870 -1965). It shows an ink Drawing of a Caricature of "MALE FIGURES CARICATURE STUDIES", with young and older male studies. It is a Lovely example of Clewin Harcourt's artwork. It is unframed. It is unsigned, but has his name on the reverse, along with a hand written list of paintings, and prices in guineas, perhaps for an up coming Exhibition Sale in 1925. An interesting List.

It is from one of Clewin Harcourt's early Sketch Books, produced around 1925, whilst he was in Europe. It has come from my own Collection of Clewin Harcourt Sketches, and Paintings. It is a lovely sketch. It is unframed.

HARCOURT, Clewin Simon Vernon; (born Dunolly, Vic, 1870, died Heidelberg, Vic, 1965). Artist, Designer, and Musician. Studied at National Gallery School, Melbourne, 1886 – 1888, under Fred Mc Cubbin, and George Follingsby. He spent time in the Western Australian Goldfields around 1890 – 1900. Went to Westminster Art School, London, 1901, under Mouat Loudan. Academie des Beaux Arts, Antwerp, Belgium, 1902, under M. de Vriendt. Paris, and London from 1902 – 1912. He returned to Melbourne, 1912 – 1920, Sydney, 1920 – 1922, and returned to Europe 1922 – 1928, then back to Heidelberg from 1928 – 1965. He last Exhibited in Melbourne in 1938. His Art is held in Many Major Collections around Australia, and around the world.

Captain Cook’s artistsview full entry

Reference: see Webber John - Captain Cook’s Painter: John Webber 1751 - 1793 - Pacific Voyager and Landscape Artist by William Hauptman. Includes bibliographical references (p. 250-255)
Text in German and English.
Catalogue of an exhibition held at the Kunstmuseum Bern, Switzerland, 27th March - 2nd June, 1996 and The Whitworth Art Gallery, The University of Manchester, England, 4th July - 15th September, 1996
Publishing details: Kunstmuseum Bern, 1996, 255 p. : ill. (some col.)

Stone A Hview full entry

Reference: Court & Camera. The Life & Times of A.H. Stone, a Pioneer Lawyer and Photographer in Perth, by Jacqueline O'Brien, and Pamela Statham-Drew. Pre-Gold Rush Perth through the eyes of pioneer photographer and lawyer Alfred Hawes Stone. Profusely illustrated.
Publishing details: The Authors. 2012. 4to, cloth boards, dustjacket, colour and b&w illus, illus endpapers, pp 272.
Ref: 1000

Perth, Western Australiaview full entry

Reference: see Stone A H - Court & Camera. The Life & Times of A.H. Stone, a Pioneer Lawyer and Photographer in Perth, by Jacqueline O'Brien, and Pamela Statham-Drew. Pre-Gold Rush Perth through the eyes of pioneer photographer and lawyer Alfred Hawes Stone. Profusely illustrated.
Publishing details: The Authors. 2012. 4to, cloth boards, dustjacket, colour and b&w illus, illus endpapers, pp 272.

Treasures of Canberraview full entry

Reference: Treasures of Canberra By Betty Churcher and Lucy Quinn. Includes bibliographical references (page 200-202) and index. [‘The best thing about Canberra is Australia's greatest collections of art, documents and artefacts’.]
Publishing details: Halstead Press, hc, 208pp, colour illustrations, facsimiles, portraits, photographs

art in Canberraview full entry

Reference: see Treasures of Canberra By Betty Churcher and Lucy Quinn [‘The best thing about Canberra is Australia's greatest collections of art, documents and artefacts’.]
Publishing details: Halstead Press, hc, 208pp, colour illustrations, facsimiles, portraits, photographs

Dodd Lynleyview full entry

Reference: The Life and Art of Lynley Dodd by Finlay Macdonald. ['Lynley Dodd is a national treasure, and this excellent book shows us why.'--Weekend Press Hairy Maclary from Donaldson's Dairy has been read and loved by millions since its 1983 publication. Its protagonist's shaggy face and mischievous eyes are now iconic. But what of his creator? In The Life and Art of Lynley Dodd, Finlay Macdonald tells the tale of how a small girl raised in Kaingaroa Forest became the illustrator and virtuoso wordsmith behind so many picture books that are living classics. But this is not just a story about a storyteller, it is a book that explores Lynley Dodd's working world. What is the secret behind her stories' linguistic dexterity? How does her paintbrush capture the sometimes comic, sometimes tragic expressions of her animal characters with such precision? As well as many favourite and familiar book illustrations, this volume contains never-before-seen sketches and cartoons, character roughs and picture-book drafts. The Life and Art of Lynley Dodd is both a tale of remarkable success and a window into a brilliant creative mind. 'People don't belive me when I tell them that Hairy Maclary fell out of a book - literally - but he did. It was just a scrap of paper I'd tucked between the pages of my ideas book, as you do. And I picked it up and thought, well, yes, I could do this. So I did.']
Publishing details: Penguin NZ, 2013
Ref: 1000

Coghlan Elaineview full entry

Reference: see Cordier Auctions & Appraisals
Contact: 1500 Paxton Street
Harrisburg, PA 17104, United States - Attrib. to Elaine Coghlan (Australian, 1897-1989). Watercolor. Still life of flowers. Signed at lower right "Coghlan 1933". Framed in a gold colored frame with wood grain detailing, under blue matting. As a resident of Sydney, New South Wales, Coughlan was a painter and art teacher. Early in her career she concentrated on oil paintings but later turned to watercolours as her principal medium. MEASUREMENTS: 10-1/2" x 12". Overall with frame 17-1/4" x 19". CONDITION: Yellowing to paper overall. Frame separating at corners, slight rubbing to gold coloring on sides.

Mackennal Bertramview full entry

Reference: see SPORTING MEMORABILIA - Day 1, by Graham Budd Auctions
May 22, 2014, 10:00
Sotheby's
34-35 New Bond Street
London, W1A 2AA United Kingdom
Estimated Price: £3,000 - £4,000
Description: A complete set of four participation medals for the 1908 London Olympic Games,
i) gold plated bronze
ii) silver plated bronze
iii) bronze
iv) pewter
designed by Bertram Mackennal with a winged figure of victory, and a quadriga winning a chariot race

Barnet James architectview full entry

Reference: From Historic Houses Association: Responsible for some of New South Wales’ greatest 19th century public buildings, James Barnet served as Colonial Architect for 25 years, from 1865-1890. During this time he oversaw some 1500 projects, from Sydney’s major public buildings - the General Post Office, Lands Department and Colonial Secretary’s Office - to country courthouses, police stations, post offices and lighthouses. Presented by architectural historian Robert Griffin, this half-day walking tour explores Barnet’s life and work with visits to some of his landmark city buildings, as well as those less well known.

Thursday 26 June, 2014

Hilly John Frederickview full entry

Reference: From Historic Houses Association: Our series on the Colonial Architects moves beyond those who held the office to explore the lives and careers of other leading architects of the colony. Today John Frederick Hilly (1810-83) is virtually unknown, yet in the mid-nineteenth century Hilly, along with Edmund Blacket, was regarded as Sydney’s leading architect. Hilly designed in both the Italianate and Gothic revival styles and his works include banks, houses, churches and even grandstands for Randwick racecourse. Join architectural historian Robert Griffin for this presentation and tour that explores Hilly’s life and work, with visits to some of his most significant buildings.

Juniper Hall | Saturday 5 July, 2014

Day Fine Artview full entry

Reference: 2014 catalogue: Welcome to Day Fine Art

Welcome to Day Fine Art. We are a business that has an eclectic interest in Australian Painted and Printed works and Old Master Drawings and Prints.

We aim to present rare works that are aesthetically appealing and also offer an interesting historical significance.
We provide an exceptional client service and cater for all budgets, styles and interests.
Our stock includes a selection of Australian pantings, drawings and prints by artists such as: Norman Lindsay, Arthur Streeton, Thea Proctor, John Brack, Arthur Boyd, Adam G Ball, William Raworth, Murray Griffin, Ethleen Palmer, Peter H Marshall, Ken Knight, Robert Dickerson, Yosi Messiah and many more...
We offer a bespoke art advisory service spanning from buying and selling artworks to conservation and restoration of your collection.

Please visit our gallery or contact us for further information.

Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.
Publishing details: 2014, pb, 1699
Ref: 132

Murcott Adaview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Blue Mountains Swallow Tail Butterflies
A (Ada) Murcott
c1905

Watercolour on paper
41.5 cm x 17 cm

$2,200

Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Ball Adam Gustavusview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Adam Gustavus Ball

Born: 1821
Died: 1882

Adam Gustavus Ball, Sketcher, Explorer and civil engineer emigrated from Ireland to New South Wales in early 1839.
He worked in Sydney as a civil engineer for eight years before taking a job to move a herd of 2000 cattle overland to Adelaide. He remained in Adelaide and surrounding areas working as a surveyor and taking part in expeditions and exploration of South Australia. He soon became known on outlying sheep and cattle stations for his skill with the pencil. His sketches include incidents such as cattle musters, emu hunting, kangaroo hunting, camp scenes all executed with exceptional detail and skill. His work was popular and was displayed in many hotels and private homes.

Ball exhibited with the Society of Arts at Adelaide in 1859 and 1860. Many of his sketches were reproduced as photographs by Townsend Duryea and G.J. Freeman in the 1860s and early 1870s and apparently sold well. Notably, a photograph of a pencil drawing of the death of the Victorian explorer Robert O’Hara Burke carrying these initials and titled 'When I am Dead, Place My Revolver in My Hand and Leave Me Unburied as I Lie’ (1871, Mitchell Library ) was included in Duryea’s Adelaide Album (1866) otherwise filled with photographic views of Adelaide streets and buildings.

At some stage he worked on Paralana Station in the Gammon Ranges near Yudnamutana Creek. Paralana is recorded as comprising 582 square miles of country and from 1856 was owned by John and William Jacob. At its most profitable period it was stocked with 7000 cattle. This great herd was nearly entirely wiped out in the drought of the 1860s. Several surviving drawings are thought to be depictions of the station.
Much of Ball’s work is only initialled 'A.G.B.’.

Adam Gustavus Ball died at his residence in Childers Street, North Adelaide, on 22 August 1882, aged 61. He was survived by his wife and two daughters.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Rees Ann Gillmore (Carter)
view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Ann Gillmore Rees (Carter)

Born: 1900

Died: 1982
Born Doris Carter in Bristol (UK) Carter studied wood engraving from 1923 - 28 at the 'Rookery' a pioneering art school run by Noel Rooke. Carter immigrated to Australia in 1939 with her husband William Rees. In Australia she was active in the arts and craft scene in Sydney in the 1940's.
Carter was well known for her work in textiles. she died in Bundoora, Victoria.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Woolcott Charles Henry view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Charles Henry Woolcott

Born: 1821

Died: 1905
Painter and Public servant. Woolcott served in Sydney from 1843 as a clerk, draughtsman, mayor's secretary and assistant town clerk. In 1857 he succeeded John Rae in the position of Sydney Town clerk. This position he held for 30 years.
Although Woolcott painted throughout his life, very few of his works survived.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Trethowan Edith Florence
view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Edith Florence Trethowan

Born:1901

died:1938

Trethowan was a painter and printmaker from Western Australia. She studied art under Henri Van Raalte in Malcolm Street, Perth (c.1915-20) then at Perth Technical College (c.1925-27). In 1925 she exhibited a watercolour with the W.A. Society of Arts and in 1931 she showed nine woodcuts in a joint exhibition with J.A.B. Linton and Beatrice Darbyshire at Orient House, Perth.
In 1933 and in 1935 she exhibited woodcuts with the Perth Society of Artists; she showed three drawings with them in 1936.
Trethowan, who never married, died in Perth on 4 February 1939.
In 1978 a donation to the Art Gallery of Western Australia from Beatrice Darbyshire of four of Trethowan’s woodcuts revived interest in her work. A further donation of a complete set of her engravings from her sister-in-law Edna Trethowan and five of her original woodblocks containing eleven images from J.A.B. Linton led to an exhibition of her blocks and engravings in 1980 and to recognition of her contribution to the art of printmaking in Western Australia.

Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Scott Eric Glidden view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Eric Glidden Scott

Born: 1893, Bega, NSW

Died: 1978, USA

After a stint in the Australian Armed forces, Scott studied at the Sydney Art school. In 1920 he went to Paris to seek a new environment and subjects to draw and etch. Whilst there he meet a Mrs Davenport of the American women's club who was arranging an exhibition of etchings. He exhibited several at the Old Salon and one of his etchings was bought for the collection of the Chicago Art Institute.

Scott was a wonderful draftsman and was described by 'Art In Australia, edition 18, December 1st 1926' as having "good knowledge of his medium and a free manner of drawing".

Scott signed much of his work with a Kangaroo monogram, Indicating that although he lived and worked abroad he wanted his work to be recognised as Australian.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Abbott Ernest Edwin view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Ernest Edwin Abbott

Born: 1899 Devon, UK
Died: 1973, Australia

Abbott left the UK In 1911 to become an ironmonger in Western Australia. In 1913 he married Florence Radcliffe Olde, also from his home town near Devon in the UK. According to the Electoral Rolls of 1919 and 1924 for Kooyong, Victoria, a subdivision of Kew, he was described as an artist. They finally moved to Melbourne where he later died, three years after his wife.
He was mainly self-taught. Abbott was a craftsman so had studios and made his own engraving tools and printed his images on a flat-plate press. He is best known for italglio prints, watercolours and some oils.
In 1920 having moved to Melbourne he took a studio in Oxford Chambers, but after about a decade he gave up his city studio to focus on printmaking at his home, particularly dry-point etching. His work focused around Egyptian, Australian and English scenery.
Abbott is not known to have exhibited during his lifetime, although a retrospective exhibition was held in 1993.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Matania Fortunino view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Fortunino Matania

Born: 1881 (Naples)
Died:1963 (UK)
Born in Naples to an artistic family, Matania soon picked up the trade. He illustrated magazines and books in Italy, France and the UK.
The advent of the First World War gave Matania a platform to exercise his skill. He received accolades for his graphic and realistic images of trench warfare.
Although not Australian, he did several scenes of Australian Troops in battle.

Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Peaccock George Edward 2 worksview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - George Edward Peacock

Born: 1806

Died: unknown
Born in Yorkshire on 4 September 1806, the younger son of the vicar of Sedbergh, Rev. Daniel Mitford Peacock, and Catherine, née Edwards; both sons were given her maiden name. The family was closely associated with the Church of England in Yorkshire, the advowson of Danby Wiske remaining with them from 1761 until 1883. So when George Edwards Peacock was sentenced to death for forgery at London’s Old Bailey on 11 September 1836, this well-respected family must have felt both shocked and disgraced.
Educated at Sedbergh School, Peacock had been admitted as a solicitor in February 1830. He had his own practice within three years, but it did not fare well and he experienced difficulty in supporting his wife and young son. Driven by desperation, he forged a power of attorney for transfer of stock valued at £7,814, the property of his brother, Rev. Edwards George Peacock. The death sentence was commuted to transportation for life and Peacock found himself in the prison hulk Justisia moored in the Thames. Transported aboard the Prince George , he reached Sydney on 8 May 1837. As a 'special’ or educated prisoner, he was despatched to Port Macquarie where he acted as clerk to the prison barracks. There is no evidence that he painted at this time.

Three months after his arrival, Peacock’s wife and son joined him at Port Macquarie. By 1839, however, his family was living in Sydney and Peacock was requesting a transfer there, claiming that he feared for the religious and moral upbringing of his son. In Sydney, he trained with James Dunlop , the government astronomer, and by 1840 was employed as a meteorologist at the South Head weather station, a position he held until the station was abandoned in 1856. He lived alone in a nearby cottage, his marriage having broken up. Contact with Sydney Harbour and his involvement with weather conditions and cloud formations, as well as a desire to rehabilitate himself socially (being disbarred from practising law), probably inspired his interest in painting professionally. Views of the harbour from various points along the South Head Road are the subjects of the majority of his paintings. In both style and subject matter they resemble those of his Sydney contemporary Conrad Martens , who was giving lessons in Sydney when Peacock began to paint. Both had a keen interest in meteorology and both made many views of or from their patrons’ residences. Peacock also copied sketches by Martens, but this was a common practice at the time and does not necessarily imply a master-pupil relationship. The major difference between the two is in size, medium and colour; most of Peacock’s works are very small oils in sweet bright colours.

Granted a conditional pardon in December 1845, Peacock was still obliged to stay in the colony. He remained at South Head and continued painting in and around Sydney. Although most of his works are undated, he appears to have been most active as a painter in the eight years between 1845 and 1852, the period he is listed as an artist in Sydney directories (from 1844). In 1847 one of his Sydney landscapes was included as a prize in W. & F. Ford’s art union, together with works by leading colonial painters. When eight of his Sydney views were shown at the 1847 exhibition of the Society for the Promotion of the Fine Arts in Australia, the Sydney Morning Herald praised his 'correctness and attention to details’ but found fault with his colouring: 'Mr. Peacock must look at nature through warm-coloured spectacles. His pictures have not the force nor the transparency which we expect to find in oil colours’. The Herald art critic was more complimentary about The Rustic Meal and Double Bay, Port Jackson in the Society’s 1849 exhibition, calling the former 'an evident improvement upon the former productions of this pleasing artist’ and describing the latter as 'a very pleasing little picture, carefully painted, exhibiting extreme fidelity to his landscape, as well as skill in minute handling and high finish’.

Peacock’s focus on topographical detail, combined with the lyrical beauty he perceived in the harbour and its surrounds, gives his work considerable historical as well as aesthetic interest. A large oil painting, Sydney from Woolloomooloo (1849, Mitchell Library [ML]) – a detailed view that includes St Mary’s Cathedral and St James’s Church – ranks as one of his finest works. Nevertheless, A Distant View of Sydney from above Rose Bay, 1847 , a tiny painting, displays an equally competent understanding of the harbour he painted so often. In View of Old Government House – Sydney, 1845 (ML), painted soon after Governor Gipps had moved to his new, grand residence (also depicted by Peacock in several paintings), a red-coated sentry stands to attention while camels and sheep graze peacefully on the front lawn.

In 1850 J. Allen issued a Peacock lithograph celebrating the turning of the first turf for the Sydney railway at Redfern, an event seen at the time as of great significance for the progress of the colony. The Herald commended its accuracy in July. In March 1851 the dealer J.T. Grocott had five of Peacock’s oil views of Port Jackson on display at his gallery, together with lithographs after Peacock’s painting, Citizens’ Mayor’s Picnic . He also received commissions to paint properties, especially grand harbourside houses in the eastern suburbs; Colonel Rogers, for instance, commissioned six paintings of and from his family home, Craigend House, former residence of Sir Thomas Mitchell . Unusually, several include gardeners at work in the foreground.

After the South Head weather station closed in 1856, official records make no further mention of Peacock and it is not known where or when he died. An oil painting entitled Richmond Bridge , listed in the catalogue as being by George Peacock, a Victorian artist, was exhibited with the Victorian Society of Fine Arts at Melbourne in 1857 (for sale at £8), but no Peacock has been traced in Melbourne and these listings are unreliable. Still, 'Christopher Sly’ ( James Neild ) whimsically suggested the work had been executed by 'dipping two spiders, one in cream, the other in sloe-juice, and allowing them to crawl at will over the canvas’ – a description that fits some of George Edwards Peacock’s work. The subject is unrevealing since there are Richmonds in New South Wales and Victoria and the best-known Richmond Bridge is in Tasmania. Small views of Hobart and Launceston c.1850s were attributed to him in a Christie’s London auction of 14 July 1994 (lot 148). The George Peacock working in Victoria in the 1870s appears to be no relation, while the 'S.V. Peacock’ mentioned by Moore did not exist (the Mitchell Library has established that the name arose from a misreading of G.E. Peacock’s signature).

(Garry Darby 1992- Design & Art Australia)
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Hammon George Hamilton view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - George Hamilton Hammon

Born:1869

Died:1960
Active in Sydney during the end of the 19th century, Hammon was known for his views of Sydney harbour.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Eyre Gladstoneview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Gladstone Eyre - Born: 1863 - Died: 1933
Gladstone Eyre studied in Melbourne alongside artists such as H Van Den Houten and Knut Bull. A member of the Art Society of NSW, he exhibited a portrait of Mrs Langtry in 1883 which provided him with a reputation for portraits of Government officials.
His typical compositions were landscapes depicting the bush, specifically the escarpments of Blue Mountains in NSW.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Hong Fuview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -

Born: 1946 (China)

Hong arrived in Australia in 1990, he has exhibited his paintings in 50 solo exhibitions throughout, China, Japan, Taiwan, Singapore, Italy, Hong Kong, London and Australia.
He has been selected as a finalist in the coveted Archibald portrait prize, and is held in many private and public collections in Australia and the world.

Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Brees haroldview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art - Harold Brees

Born: 1841

Died: 1904
Harold brees was an architectural draughtsman at the department of Lands. He was versatile and could produce works in a range of mediums, Lithographic bill heads, plans and drawings, and on the side watercolours and oil paintings. By 1860 he had established his own practice on Hunter street Sydney. In 1870 he exhibited both watercolours and architectural drawings in the Intercolonial exhibition in Sydney. Bree's work is rare, and difficult to obtain on the market.
Certain of his works are important as they provide a historical documentation of the area during the period.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Allcot Johnview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -

John Allcott - Born: 1888, Liverpool, UK.
Died: 1973, Sydney

Born in Liverpool, Lancashire, England, son of George Allcot, mariner, and his wife Mary Elizabeth, née Phillips. Educated at Arnot Street Board School, at the age of 14 John was apprenticed to Tillotson & Son Ltd, lithographers, and attended classes at the Liverpool Institute and School of Art. In 1906 he worked in the Mersey tugboats and next year sailed as a deck-boy in the barque, Invermark. He loved painting and would scrounge ship's paint, sailcloth and handkerchiefs with which to depict the sea, ships and life on board.

Arriving in Sydney in the Miltiades in 1909, Allcot signed on with the old clipper, Antiope. He worked in coastal, island and intercolonial vessels out of Sydney before giving up the sea in 1912. At the Pitt Street Congregational Church on 13 September 1915 he married Elsie Alma Johnson, but they later became estranged. Supporting himself by painting theatre sets, he obtained commissions for ship paintings from Sydney photographers and toured the countryside, completing landscapes which he exhibited regularly with the Royal Art Society of New South Wales from 1920. About this time he formed an enduring friendship with Phyllis Zanker.

He gained widespread recognition in the 1920s with a series of oil paintings (on the founding of the Australian colonies) which were later acquired by the Australasian Pioneers' Club. Other commissions followed. Allcot also worked as an illustrator and wrote articles about the sea for the Sydney Mail. In the 1940s he painted the seas for ship-models built by the sculptor Robert Klippel. Allcot's painting of the Cutty Sark was presented to the Duke of Edinburgh in 1954.
Allcot was dark and diminutive, less than five feet (153 cm) tall. His studio became a meeting-place for those interested in ships, paintings and models. Regular visitors included maritime artists Oswald Brett and Ian Hansen who watched him work and listened to his colourful stories of seafaring. Allcot exhibited landscapes and still lifes at Beard, Watson & Co. Ltd (1962); his paintings of ships were shown at Underwood Galleries (1965) and those of twelve windjammers at the San Francisco Maritime Museum, United States of America (1969). In Sydney he held a successful exhibition (1970) at Proud's Art Gallery to celebrate the bicentenary of James Cook's landing in Australia; Allcot's last showing took place at the Copperfield Gallery (1973).

Painting to tried and tested conventions, with impeccable attention to detail, Allcot used water-colour and gouache, and oils. His work was prolific and romantic. At a time of great change in the shipping industry, he specialized in nostalgic views of sailing ships and steamers, and found an appreciative market of ship-owners, captains, crews and their families. While best known for his ships, he continued to enjoy painting landscapes. A fellow (1956) of the local Royal Art Society, Allcot was a member of the League of Ancient Mariners and of the Shiplovers' Society. He was elected an honorary life member (1962) of the Australasian Pioneers' Club and appointed O.B.E. in 1970. Survived by his wife, son and daughter, he died on 13 July 1973 at North Sydney and was cremated with Anglican rites.

His work is represented in private and public collections in Australia and abroad.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Loxton John Samuelview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -

John Samuel Loxton

Born: 1903

Died: 1971
A Painter who specialised in the mediums of watercolour and oil, Loxton's subjects included Landscapes, coastal and harbour views and still life.
His work is represented in most state and regional galleries throughout Australia
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Allport Lily (Curzona Frances Louise) view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -

Lily (Curzona Frances Louise) Allport

Born: 1860

Died: 1949
A member of the Tasmanian Allport dynasty.
Over the 19th and 20th century, the Allport family were significant contributors to the procurement and conservation of Colonial Australia.
The Allport Gallery in Hobart hold much of their collection.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Pye Mabelview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Mabel Pye

(b. 1894- d. 1982)

Mabel Pye was a printmaker and painter from Melbourne who studied with Adelaide Perry and Napier Waller under Bernard Hall at the National Gallery School.

Mabel introduced the use of linocuts into her work in the early 1930’s with bold colors and lines. Her work encompassed the use of the everyday including landscapes, portraits and still life.

Mabel was a member of both the Victorian Art Society from 1918-1941 and also the Melbourne Society of Women Painters & Sculptures from 1920-1950.

Her work is represented at The National Gallery of Australia and has been exhibited in the following galleries:

Masterpieces of Australian printmaking. Josef Lebovic Gallery (1987)

Images of Women Prints and Drawings of the Twentieth Century. University Of Melbourne Art Gallery. (1983)

Melbourne woodcuts and linocuts of the 1920's and 1930's. Ballarat Fine Art Gallery. (1981)

A Survey of Australian Relief Prints 1900 - 1950. Deutscher Galleries (1978)

Exhibition by Water Colour Group. Velasquez Gallery (1946 )

Victorian Artistic [sic] Society, Sydney Exhibition [1938].Victorian Artists Society Galleries

Victorian Artists' Society, Exhibition of Prints [1933] Victorian Artists Society Galleries

Victorian Artists' Society, Spring Exhibition [1914] Victorian Artists Society Galleries
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Thompson Owenview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Owen Thompson

Blue Mountains Based Watercolorist.

Qualifications

1980 Batchelor of Fine Arts Adelaide Art School
1979 Diploma of Art UNSW College of Fine Arts

Solo Exhibitions

2013 “ Wild Blue Yonder” Everglades Garden Gallery, Leura, NSW
2011 “ The Bush, the Beach and Berry “ Historic house, Prince Alfred St , Berry NSW
2010 “ Watercolours” Katoomba Fine Art, Katoomba NSW
2008 “ Liquid Landscape” Katoomba Fine Art, Katoomba NSW
2007 “Drawn to Nature” Katoomba Fine Art, Katoomba NSW
2004 “ Landmarks and Backwaters” Gallery Lane, Leura, NSW
2002 “ Waterways” Gallery Lane, Leura NSW
2002 “ Watersheds” Hardware Fine Art, Naremburn, Sydney
2001 “ Closer to the Clouds” Nepean Hospital, Penrith, NSW
2000 “ Bands of Gold, Shadows of Blue " Gallery Lane, Leura, NSW
2000 “ A Feast of Forms” The Centre Gallery, Glenbrook, NSW

1998 “ Drawing the Divide” Oz Artspace, Katoomba, NSW
1996 “ Native Nectar” Holdsworth Galleries, Sydney
1994 “ About the Bush” Holdsworth Galleries, Sydney
1993 “ Branches of the Blue Divide” Holdsworth Galleries, Sydney
1991 “ New Views” Holdsworth Galleries, Sydney
1989 “ Fruits of Paradise – Seeds of Survival” The North Sydney Contemporary Gallery
1988 “ The Delight of Earthly Gardens” The Noth Sydney Contemporary Gallery
1986 “ Pastels and Watercolours” The University of NSW
1985 “ Coloured Waters” Hamilton Design Glass Gallery, Sydney

Group Exhibitions

2004 “ Land out of Time” Penrith, Griffith, Stanthorp, QLD Regional Galleries
2001 “ The Megalong Show” Gallery Lane, Leura, NSW
2000 “ Six Watercolourists” The Royal Art Society of NSW
2000 “ Modern Masters” North Sydney Fine Art Gallery.
1997 “15 Artist’s” Soho Gallery, Sydney
1996 “ Spring Flowers” Mountain Artery Gallery, Katoomba, NSW
1995 “ Bush Memories” The Brown Paper Gallery, Lawson, NSW
1993 “ Out of the Blue” The Brown Paper Gallery, Lawson NSW
1990 “ Principal’s Choice” Holdsworth Galleries, Sydney

Selected exhibitions

2012 Finalist Hawkesbury Art Prize exhibition.
2005- 2010 Blue Mountains Artists Assoc. Prize Exhibitions, The Edge Cinema Complex, Katoomba.
2000 – 2010 Royal Art Society Exhibitions. ( Elected Member 2000 )
1992 – 2013 Australian Watercolour Institute exhibitions. ( Elected member 1996 )
1998 Sister Cities Exhibition, Sanda , Japan
1997 Tattersall’s Club invitational Art Prize Exhibition, Queensland
1991 KAC Teaching Artist’s Exhibition, Barcelona, Spain.
1988 _ 2013 All annual exhibitions- The Julian Ashton Art School, The Rocks, Sydney
1988 – 2002 RAS Easter Show Exhibitions ( Drawings C 88, 2nd Prize 89,Watercolour C 89)
1988 – 1990 Drummoyne Art Prize ( Drawings HC, 88, VHC, 89, C,90 )

Public Commissions

2011 Series of four watercolours digitally enlarged into glass for windows of the new hospital
chapel., Nepean Hospital, Penrith .Total size 1.5 m x 5.5 m
2008 Acrylic wall mural 2.4 m x 6.5 m, Cardiac re-hab unit, Nepean Hospital, Penrith
1999 Watercolours for three new birthing units, west wing, Nepean Hospital , Penrith

Collections

UNSW College of Art, Adelaide CAE, Lane Cove Council, Artbank Ltd, Nepean Hospital..

Publications
The Australian Watercolour Institute -Phillip Mathews book publishers, 2006
Land Out of Time- Oz Arts Publications, 2004
The Artist’s Palette Magazine-Annual, 1999
Australian Artist Magazine-Dec 1987 & June 1999
The Australian Watercolour Institute 1923 -1998. -Beagle Press, 1998
Artist’s and Galleries of Australia.- Max Germaine, 1996 Macquarie Library.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Marshall Peterview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Peter H Marshall

Peter was born in Western Victoria in 1964 and was raised on a farm which ignited his life long interest in drawing, particularly the trees growing on the family property. After attending the Ronald Crawford School of Painting’ (Meldrum School of Tonal Impressionism) in Melbourne, age seventeen, Peter moved to Sydney in 1989 to study drawing and etching full time at the Julian Ashton Art School, where he won the Inaugural Sir William Dobell Scholarship for Drawing in 1990. In the same year he became an assistant Tutor at the school, was awarded the Robert LeGay Brereton Prize at the Art Gallery of NSW. In 1991, he was awarded the prestigious A.M.E Bale Travelling and Educational Scholarship in Melbourne, enabling him to embark on an extensive study tour throughout Europe, the United States and Japan. During this period Peter studied the work and techniques of the European, American and Japanese Masters. He lived and worked in private studios for six months in Amsterdam and Paris and visited eleven countries during 1992-93. During a three month stint in London, Peter attended lectures on the old masters techniques at the National Gallery of London. On his return to Australia, the artists’ interest and ability in painting portraits developed to a high degree and was advised by Sir William Dargie to pursue this aspect of his work.
In 1995 the artist was employed as a teacher of Painting, Drawing and Etching at the Julian Ashton Art School in Sydney and worked on his paintings in a private studio in York Street in the city. The following year he moved to the Central Tablelands of NSW where he taught drawing at the Western Institute of Tafe. After purchasing some land in the village of Rockley NSW in 2004 Peter built his own house over a period of years and worked on his art and commissions in a studio on the edge of the village. During this period his interest in trees was re-kindled and he embarked on several series of works relating to the theme.
In 2012 the artist moved to the Blue Mountains of NSW where he has now established a studio in idyllic surroundings. Peter has continued to paint and draw his favorite subjects and is known as a painter of people and trees.
Since 1981 Peter has accumulated a total of sixty two awards and honors for his work, including, The Alice Bale Travelling and Educational Scholarship 1991, The Calleen Acquisition Award – Cowra 1998, Finalist in the Dobell Drawing Prize AGNW 2001-2005 and 2009, the Adelaide Perry Drawing Prize 2006-2007-2010 and the Mortimore Art Awards 2007-2009-2010 and 2011.
Peter has received multiple Portrait and Tree themed commissions, has been exhibited in fifty two group shows in Regional and Commercial Galleries in Victoria and NSW, held nine solo exhibitions in Melbourne, Sydney and Western Victoria and his work is represented in many private and some corporate collections in Australia, Belgium, Switzerland, USA, UK, Japan, Hong Kong and New Zealand.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Walker Ralphview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Ralph Trafford Walker

Born: 1912

Died: 2003
Predominantly know for his sculpture, Walker was also an official war artist during WW2.
Notable works include the centre bronze door of the Mitchell Library in Sydney, which he designed and made 17 of the 18 bronze panels.
The Australian War Memorial also has a collection of dioramas and other works.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Borstel Reginald Arthurview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Reginald Arthur Borstel

Born: 1875

Died: 1922
Sydney based painter who primarily focused on painting trade ships in Sydney harbour. His working period was from the 1890s through to the early 1900s.

Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Shaw Richard Hview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Richard H Shaw

Born: 1832

Died: 1895
Primarily a watercolourist, Shaw produced works depicting the South Australian landscape and Aborigines in their native environment. He exhibited his work at the Chamber of manufactures and many local exhibitions; he also turned his brush to the production of theatre scenes. He died in poverty at the age of 63.
The art Gallery of South Australia is home to his 'Blacks in Full War Dress' Kaurna Corroboree near Burnside' and 'Greenhill Rd Hazlewood Park'.
His works are rare and often depict scenes of historical interest.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Raworth William Henryview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
William Henry Raworth

Born: c.1820 England

Died: 1905
Raworth painted numerous watercolours of views in Australia and New Zealand. He exhibited in Christchurch in 1871 and Melbourne in 1872. He painted several early depictions of the Blue Mountains in NSW c.1875-1899). One major work, Govett's Leap c.1875 was used to illustrate the front cover of 'Landscape Art and the Blue mountains' by Hugh Speirs 1981.
Raworth was represented at the Bicentennial exhibition 'The Great Australian Art Exhibition' in 1988-89. He also produced many watercolour and drawn images of Sydney Harbour in the mid to late 19th century.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Forster William Jamesview full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
William James Forster

Born: 1840

Died: 1891
A Marine painter working in the 1880-90. Working mainly in Watercolour, he painted many of the significant ships working around Sydney Harbour and the coastal ports. Kembla, Newcastle etc.
There are around 80 works known to exist in public and private collections throughout Australia and New Zealand.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Messiah Yosi view full entry

Reference: see Summer 2014 catalogue of Day Fine Art - Traditional to Modern Fine Art -
Yosi Messiah

Born in Israel, Yosi Messiah migrated to Australia in 1987. After Owning a successful jewellery business Messiah's creative curiosity led him to study painting at Charlie Shed's School, and life drawing at Julian Ashton's school of Art in Sydney.
Messiah's work is fast and free, his bold colour combinations are an exciting visual pastiche and when combined with his love of intricate line detail the paintings come to life!
His technique of laying colour and line work down in sections provides his abstractions to convey a unique sense of depth and movement.

Curriculum Vitae
1964: Born Israel 1964 - lives and works in Sydney, Australia
1996: Studied oil painting with renowned painter Charlie Shead
1997: Studied life drawing at the Julian Ashton Art School, Sydney
1996-2013: Working artist

Solo Exhibitions

2012 "Colour Spill", Richard Martin Art, Sydney
2012 "New work", Gallery One, Gold Coast, Qld
2011 "Evok", Richard Martin Art, Sydney
2007 "Harmony of Cultures", Thierry B Gallery, Melbourne
2006 "Natural Flow", Us2 Gallery, Bondi
2004 "Crossing with Landscape", Graphis Gallery, Sydney

Collective Exhibitions

2012 Richard Martin Art - Summertide Group Show
2012 Semi Finalist Doug Moran Portrait Art Prize
2012 Finalist Mosman Art Prize
2012 Richard Martin Art - Summer, Sydney
2011 Richard Martin Art - Winter, Sydney
2011 Swift mansion, Sydney
2010 Gallery One, Gold Coast, Qld
2009 Art Sydney
2008 Brisbane Art Fair
2008 Art Singapore
2008 Galleries Direct, Sydney
2007 Reuters Charity Auction
2007T hierry B Gallery
2007 Art Sydney
2007 Richard Martin Art, Sydney
2007 Art Melbourne
2006 Bricklane Gallery, Bondi
2006 Art Sydney
2006 Global Gallery
2005 Art Sydney
2005 Global Gallery

Awards
2012 Mosman Art Prize (Finalist)
2012 Doug Moran National Portrait Prize (Semi-Finalist)
2010 Director's Cut Blake Art Prize (Finalist)
2010 Mosman Art Prize (Finalist)
2009 Director's Cut Blake Art Prize (Finalist)
2009 Waverley Art Prize (Finalist)
2008 Paddington Art Prize (Finalist)
2006 Signature of Sydney (Semi-Finalist)

Collections
Ian Thorpe; Craig Ruddy; Intercontinental Hotels; Hilton Hotels; Marriott Hotels (North Ryde); Raptis Group RLD (rldesign - client placements); St Vincent Hospital Darlinghurst and numerous international clients.
Publishing details: 2014, pb, 1699. Gallery Address:
29 Govett's Leap Rd
Blackheath, NSW.

Booth E Bview full entry

Reference: was founder of the Womens’ Club in Elizabeth Street, Sydney, c1901, and a competent watercolourist of Sydney subjects.

BEUTH, Emilie. (Illustrator).view full entry

Reference: BEUTH, Emilie. (Illustrator). AUSTRALIAN ALPHABET BOOK. Australia is a land of unusual animals and birds, most of
which are found nowhere else
in the world.
Publishing details: Syd. Readabout
Publishers. 1964. Oblong. Col.
Ill.wrapps. 16pp. Col.ills. Scarce. Muir 272.
Ref: 1000

Jahn Grahamview full entry

Reference: JAHN, Graham. SYDNEY ARCHITECTURE. Photographed
by Patrick Bingham-Hall. Lists more than 500 buildings with detailed
historical, architectural & anecdotal notes with brief biographies of
leading architects.
Publishing details: Syd. Watermark Press. 1997. Tall 8vo. 256pp. b/w ills. Fine. 1st ed.
Ref: 1000

PILIOKO Aloiview full entry

Reference: PILIOKO: ARTIST OF THE PACIFIC. Life & work of the Wallis Island artist.
Publishing details: Univ
of the South Pacific. n.d. (1980s) 4to. Col.Ill.wrapps. 42pp. Col.& b/w ills.
Very Good copy. 1st ed.
Ref: 1000

Sprod Georgeview full entry

Reference: SPROD, David. SPROD: CARTOONS BY THAT ODD MR SPROD. - An exhibition catalogue of George Sprod’s comic illustrations.
Publishing details: Mt Barker, SA. The author.
2009. Ill.wrapps. 16pp. Many twocolour
ills. Very Good copy. 1st ed.
Ref: 1000

Sprod Georgeview full entry

Reference: SPROD, George. BAMBOO
ROUND MY SHOULDER. Changi:
The Lighter Side.
Publishing details: Syd. Kangaroo
Press. 1981. Col.Ill.wrapps. 88pp.
Many b/w ills.
Ref: 1000

Sprod Georgeview full entry

Reference: SPROD, George. WHEN I SURVEY THE
WONDROUS CROSS. Sydney’s King’s Cross, Ancient & Modern.

Fine. 1st ed. A humorous look at Sydney’s notorious Kings Cross.
Publishing details: Quincunx Press. 1989. Col.Ill.wrapps. 82pp. Many b/w ills. by the author.
Ref: 1000

Early Sydney Postcardsview full entry

Reference: TYRRELL, Bill. (Compiler). EARLY SYDNEY POSTCARDS. BOOK 3. Photographs taken around 1880-1936 by Charles Kerry & Henry King. 34 picture postcards of Sydney City, suburbs & harbour, reproduced from original glass negatives
from the libraries of Charles Kerry & Henry King.
Publishing details: Syd. Doubleday. n.d. (1980s) Oblong. Ill.wrapps. unpag. (18pp.)
b/w photographic ills. Very Good copy. 1st ed.
Ref: 1000

Early Sydney Postcardsview full entry

Reference: TYRRELL, Bill. (Compiler). EARLY SYDNEY POSTCARDS. BOOK 1
Publishing details: Doubleday. n.d. (1980s) ??
Ref: 1000

Early Sydney Postcardsview full entry

Reference: TYRRELL, Bill. (Compiler). EARLY SYDNEY POSTCARDS. BOOK 2
Publishing details: Doubleday. n.d. (1980s) ??
Ref: 1000

Walker Murrayview full entry

Reference: WALKER, Murray. PIONEER CRAFTS OF EARLY AUSTRALIA. A survey of the exceptional range of craft skills which evolved in country where the alternative to ‘making do’ was doing without.
Publishing details: Melb. Macmillan. 1978. Folio. Or.bds. Dustjacket.
(unevenly faded) 172pp. Many b/w photographic plates, with
contemporary images.
Ref: 1000

Australian craftsview full entry

Reference: see WALKER, Murray. PIONEER CRAFTS OF EARLY AUSTRALIA. A survey of the exceptional range of craft skills which evolved in country where the alternative to ‘making do’ was doing without.
Publishing details: Melb. Macmillan. 1978. Folio. Or.bds. Dustjacket.
(unevenly faded) 172pp. Many b/w photographic plates, with
contemporary images.

de Vries Evans Suzannaview full entry

Reference: Impressionists Revealed - ‘a ravishing glimpse of Renoirs, Monets and their owners who included Hollywood greats like Liz Taylor, Hal Wallis, Edward G. Robinson, Greta Garbo and Alain Delon, along with Alan Bond, Janet Holmes a Court and Brisbane collector the late Lady Peggy Trout.’
Publishing details: Random Australia, 1992, 192pp
Ref: 1000

Cook Captain Jamesview full entry

Reference: Rudiger Joppien; Hartnoll & Eyre.
Title is Drawings from Captain Cook's Voyages, an unrecorded collection of fourteen ethnographical and natural history drawings relating to the second and third voyages
Publishing details: London : Hartnoll & Eyre, 1976
57 p. : ill., 1 col. ; 22 cm. Exhibition held at the gallery of Hartnoll & Eyre Ltd., 13th September to 1st October 1976.
Ref: 1000

Cook Captain Jamesview full entry

Reference: Captain Cook's Florilegium. A selection of engravings from the drawings of plants collected by Joseph Banks and Daniel Solander on Captain Cook's first voyage to the islands of the Pacific, with accounts of the voyage by Wilfrid Blunt
Publishing details: Royal College,, London, 1973
Large folio, with 30 engravings; a fine copy, in the original black Nigerian goatskin and Japanese silk, housed in a protective buckram case (case slightly scuffed).One of the finest botanical productions of all time. The Royal College of Art's printing of these original eighteenth-century copper-plates appeared in a very limited edition on specially handmade paper, presented in a customised binding by Zaehnsdorf of London. The edition was fully subscribed long before it was completed.
Ref: 1000

Forty Drawings Of Fishes From Captain Cook's Voyagesview full entry

Reference: Forty Drawings Of Fishes From Captain Cook's Voyages, by P.J.P. Whitehead. Facsimiles of forty drawings of fishes made by the artists who accompanied Captain James Cook on his three voyages to the Pacific, 1768-71, 1772-75, 1776-80 : some being used in the description of new species. A lavish work, reproducing fishes drawn by Parkinson, Webber, Forster and others. including 36 plates (some in colour), represented in a near fine offering in the original cloth, the jacket is decorated in a gilt image of the Endeavour. Parkinson was a natural history and topographical artist.
Publishing details: The British Museum (Natural History), London, 1968
Ref: 1000

Modern Australian Paintingview full entry

Reference: see Modern Australian Painting by Donald J. Finley, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Cook James - his coins & medalsview full entry

Reference: Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy
Ref: 2

Surrealism in Australiaview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.
Ref: 31

Chesterfield J B (aka James Barron Chesterfield Brangwyn)view full entry

Reference: James Barron Chesterfield Brangwyn (1885?-1962).

Research notes for Bruce Beresford (who asked: was Chesterfield the son of Frank Brangwyn?)

Wikipedia claims that: ‘in 1896, [Frank Brangwyn] married Lucy Ray, who died in 1924. They had no children. He had an affair with Ellen Kate Chesterfield, which produced a son, James Barron Chesterfield-Brangwyn, born 1885 in Mevagissey, Cornwall. James later emigrated to Australia in 1909, initially working on a farm in Townsville, Queensland and later moving to Brisbane.

Virtually all other references to Chesterfield on the net can be sourced from this Wikipedia reference!

This internet reference is slightly different: From http://www.frankbrangwyn.org/Tabulated%20Biography.html

‘1896 – Brangwyn Probably visited Sandwich again and also Mevagissey in Cornwall where he had an affair with Helen Kate Chesterfield (Ellen), James Barron Chesterfield Brangwyn being born 22 October 1886 in Mevagissey. He emigrated to Australia in 1909’.

*

No results for any Chesterfields on Australian Art Sales Index which lists auction sales of paintings in Australia going back 30+ years

No significant results on TROVE for chesterfield + Brangwyn apart from reviews of Chesterfield’s exhibited works in Brisbane (see below).

*

From DAAO (Design and Art Australia Online – a generally reliable source):

James Chesterfield b. 1884 France
Also known as James Chesterfield Brangwyn - Artist (Painter)

James Chesterfield was a Brisbane-based artist who had been born in France and raised in England. He worked as a sign-writer for a time and served on the committee of the Royal Queensland Art Society from 1931-32.

James Chesterfield was born in France c.1884. He was supposedly, according to family sources, the illegitimate son of prominent British artist Sir Frank Brangwyn. This assumption tallies with other accounts of Sir Brangwyn apparently having an illegitimate son at about the same time, though the relationship has not been verified. He was taken to England as a baby and raised by his mother’s sister Edith on the Cornwall coast and later at Abergavenny. He studied at the Truro Art School, Cornwall (founded 1902), where he was awarded a twelve-month scholarship to study in France.

Chesterfield migrated to Australia in the company of Albert Sherman (1882-1971) who also studied at Truro. [Sherman became a well-known flower painter – there are two books on Sherman – see below*]. By 1913 Chesterfield was working with an uncle who had a farm in Tully. When his uncle died he departed the area and worked his way down the coast to Brisbane, painting signs for butchers shops and the like. While in Brisbane he was employed by Victor Day’s sign writing shop. He married Minnie Hope Ainsworth in South Brisbane. His portrait in a family collection by the German-born Brisbane artist L.W.K. Wirth was probably painted at this time.

Chesterfield joined the Australian Army in 1915 (as James Chesterfield Brangwyn) [this could be significant if correct] and served in Europe with the 15th Battalion. His wife sent him materials and he painted in the trenches. He was demobbed in 1919 and returned first to England to collect his wife. A daughter, Berniece, was born in 1919, followed by another daughter, Hope (who also became an artist), and a son, Howel in 1924. James was shell-shocked during the war so did not paint for many years. He established the sign writing shop 'J. Chesterfield & Company’ in George Street, Brisbane, which he later relocated to Petrie Terrace.

He resumed his contributions to the annual exhibitions of the Royal Queensland Art Society in 1928, which included watercolours with titles such as On the Marne , Near my dugout and Snow, Sutton’s, Vimy, painted during the war. He served on the Committee of the Society from 1931-32 and became good friends with the prominent Brisbane artist W.G. Grant, who used to visit frequently.
His work was predominantly in the still life genre but he also produced landscapes. He did not exhibit after 1943. James Chesterfield died in Brisbane on 26 May 1962, aged seventy-eight years.

Writer:
Cooke, Glenn R [Glenn R. Cooke was appointed the first Curator of Decorative Arts at the Queensland Art Gallery in 1981 and has published extensively on the visual and decorative arts. His commitment to documenting Queensland's visual arts history was recognised in 1999 when he was appointed Research Curator, Queensland Heritage. SUGGESTION: CONTACT VIA QUEENSLAND ART GALLERY]
Date written:
2009
Last updated:
2013

*

There are two books on Albert Sherman. The first, a limited edition published in 1955, makes no mention of Chesterfield although this might be expected since it is a picture book and the text is sparse. The second book was published in 2005 by William F. J. Commack, an obsessive admirer of Sherman. It is painstkingly researched but I can find no reference to Chesterfield. The book has Albert Sherman emigrating to Australia in 1922. Whereas Chesterfield was in Australia by 1911. Sherman did study at Truro Art School in Cornwell before arriving in Australia, as Chesterfield is said to have done. Both painted flower paintings. Maybe there was some personal connection…

*

No reproductions of Chesterfield’s paintings could be found. However, a number of exhibition titles are know, see below.

*

Titles exhibited by J B Chesterfield in Brisbane, 1911-1914:

1911 Queensland Art Society
no. 3 Study, 2gns
no. 108 Field of Flowers (Sketch) no price
no. 126 Spring, no price

1912 Queensland Art Society
no. 24 Stocks, no price
no. 38 Sketch Portrait, Old Lady, no price
no. 84 A Study for “A Jar Collection”, 3gns
no. 86 Study, “La Marque”, no price

1914 Queensland Art Society
no. 91 Green of Spring, 25gns

*

From Brisbane Courier, 27 April 1911, p5 (report on the Ipswich Show, including art exhibition): FINE ARTS, Originals (Judge, Miss J. O'Connor).- land or sea scape: James Chesterfield.

Also reported in Queensland Times (Ipswich) 27 April 1911, p7, where Chesterfield is reported also exhibiting a portrait at the Ipswich Show.

*

Review in Brisbane Courier, 7 November, 1928, p16: ‘Amongst the new exhibitors are Rose C. Tuckett, A. Earlington Rosebray, James Chesterfield, Gertrude Sorsbie, Mary Edwards, E. S. Watson and Agnes Barker… James Chesterfield's portrait study in oils is a very fine piece of work… The best of Mr. James Chesterfield's collection of nine pictures is a portrait study in oils.’

*

Review in the Queenslander of QUEENSLAND ART Society's Annual Exhibition, 24 Sept., 1931: ‘‘and in a portrait by James Chesterfield this artist displays hitherto unrevealed subtleties. His picture is entitled, "The memory of a friend is like the fragrance of a flower," and there is a whimsical dreaminess in the expression of the subject. The gradations of colour are well expressed, and the draughtsmanship is good.’

Wyllie William Charlesview full entry

Reference: attributed to William Charles Wyllie
Two pictorial lettersheets
Early Settlers, Ebenezer, N.S.W Australia 1803
and
Church and School , Ebenezer, N,S,W, Australia 1809
Drawn and/or engraved by ‘Wyllie’ (the name appears on one image)
Each 9 x 13.7 cms
Inscribed with the titles in ink.

Early Settlers, Ebenezer, N.S.W., Australia, 1803 depicts a boating party on the banks of the river. Church and School, Ebenezer N.S.W. Australia 1809 depicts children arriving at school. Each image may be after an unknown drawing of Ebenezer, on the Hawkesbury River, NSW. This is suggested by the specific dates on each, 1803 and 1809. Alternatively, each image may be a imaginative re-creation made up to 100 years after the events they are depicting and the dates have been added arbitrarily. Certainly the style of these two works appears to be late-nineteenth century. The name ‘Wyllie’ engraved on one of the images may be either the artist or the engraver or both.

One possibility is that the works are by the British artist Charles William Wyllie (1853-1923) who was exhibiting in Australia in the late-nineteenth century. He painted landscape and marine subjects (the Tate Gallery has an impressive beach scene titled ‘Digging for Bait, 1877). In Brisbane he exhibited The Departure of the Queen’s own Cameron Highlanders (79th) for the Soudan (presented to the Queensland Governement) at the Queensland National Association Exhibition in 1887 (no. 2443B). An artist with the name ‘Wyllie’ (almost certainly Charles William Wyllie) exhibited Embarkation of the Coldstream Guards at the Queensland Art Society in 1892 (no. 143), listed in the catalogue as being with ‘The Government’.

The possibility that the Wyllie named on the lettersheets is Charles William Wyllie is strengthened by a report in the Sunday Times (Sydney), 17 September, 1905: ‘When' Mr. C. W. Wyilie was completing his picture 'Trafalgar,' which has attracted much attention at this year's [Royal] Academy, he placed on the notice-board of the Royal Naval Barracks at Chatham a general invitation to come and view his picture. Sixteen officers accepted the invitation… to find any fault they could with its historical accuracy…’ From this report it would appear that Charles William Wyllie was an artist who specialized in researching the subjects of historical scenes. The artist of these lettersheets appears to have been attempting the same thing.

Chapman Evelynview full entry

Reference: “BLUE AND GOLD,” A PICTURE BY MISS EVELYN CHAPMAN, PURCHASED BY THE TRUSTEES OF THE ART GALLERY FOR 75 GUINEAS.
Daily Telegraph [Sydney] 28 November 1914

“BLUE AND GOLD,” A PICTURE BY MISS EVELYN CHAPMAN, PURCHASED BY THE TRUSTEES OF THE ART GALLERY [AGNSW] FOR 75 GUINEAS.
Miss Chapman is a Sydney young lady, and studies under Signor Datillo [sic: Dattilo] Rubbo

Richmond Oliffeview full entry

Reference: see Modern Art Auctions, London, 5 June 2014 -
20th Century Sculpture
Back to search
Lot 208 – Oliffe RICHMOND [1919-77] Oliffe RICHMOND [1919-77] [photograph] Visor Head, 1956, photograph [taken 1.3.1956 at the Imperial Institute Art Gallery, Sydney, Australia], 20.5 x 15.6 cm. Framed.
‘Oliffe Richmond is Australia’s greatest sculptor who spent many years in London. The Tate Gallery own 8 examples of his work.’

Oliver C Fview full entry

Reference: see Dreweatts Donnington Priory>Interiors, Day 2>Lot 791, May 21, 2014 - C.F. Oliver, (Australian, fl. early 20th century), a patinated bronze and marble model of an Eastern Bearded Dragon lizard (Jew Lizard), naturalistically cast with jaws agape, truncated behind the front legs, with rectangular grey marble backplate and base, the latter with metal plaque inscribed 'JEW LIZARD OR BEARDED DRAGON, Amphibolurus barbatus (CUVIER),....MODELLED BY C.F.OLIVER, SCULPTOR, MELBOURNE', 12.5cm high, 19cm long

Martin Alanview full entry

Reference: see ebay 18 May, 2014 - Australian artist Alan Martin (1923-1989).Alan was a student of the great tonal painter Max Meldrum.It is signed on the bottom left corner.On the back there is a label that has the title ''Taggerty''.It also reads ''This sketch was painted by Alan Martin while touring with fellow painters''.There is also a line through the words ''As a demonstration for students''.

Reed J W view full entry

Reference: National Maritime Museum - Painting
Elliotts & Australian Drug Limited Chemical Works & Laboratory - Rozelle
Maker: Charles Henry Hunt
Maker: J W Reed
c 1919

D 11.5 x W 288 x H 197 mm
Oil paint, canvas, frame

ANMM Collection Gift from Huntsman Chemical Company Limited
00018049

Commercial artists C. H. Hunt and J. W. Reed were commissioned to paint this bird’s-eye view of Rozelle in 1919, for the Elliot Brothers’ chemical works catalogue.

King Ingeview full entry

Reference: see Artand, Inge King, An Obdurate Certainty by Graeme Sturgeon
Publishing details: Vol 51, no 4, 2014

Buxton Michaelview full entry

Reference: The Michael Buxton Collection
Publishing details: Vol 51, no 4, 2014

Ameneiro Tony view full entry

Reference: Tony Ameneiro was selected for inclusion in the prestigious International Print Biennale in the UK. The selection panel included Stephen Coppel, Modern Prints and Drawings, British Museum; David Nash RA, artist; and Susan Tallman, editor-in-chief, Art in Print, Chicago, USA.
They have selected 37 finalists from 740 entries worldwide.
exhibition details follow links below
Print Awards 2014, Hatton Gallery and Northern Print, Newcastle upon Tyne,
27 June - 8 August 2014

Hall Alicia or Anastasiaview full entry

Reference: Davidson’s Auctions, Sydney, 17.5.2014, 74. ATTRIB. HALL, ALICIA
'Mount Wellington, Tasmania,' c.1880-95. Copious notes re family history of the work verso - artist possibly Anastasia HALL.
Oil on Canvas
57x91cm
Lot Number: 74
Sale date: 17-May-14
$300.00 - $500.00

Mari Nawi - Aboriginal Odysseysview full entry

Reference: Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise’.
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Petit Nicolas-Martin p12-13view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Eyre John view of Sydney on Norfolk Islandview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

view of Port Jackson in New Suoth [sic] Wales c1790 artist unknownview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Raper George of Nanberryview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Waterhouse William of Benelongview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Neagle James of Benelongview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Yuremany - silhouette of view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Harris George Prideaux Robert 1775-1810view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Rodius Charles of Nunberriview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Agate Alfred T of Aboriginal man McGillview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Fernyhough William Henryview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Glover Johnview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Jeffreys Charles 1782-1826view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Read Richard Snr attrib, p82 ‘Exploring Party’view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Bradley William c1787-1833view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Webber John 1752-1793view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Webber John 1752-1793view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Mikhailov Pavel Nikolaevich 1786-1840 drawing of Bungaree’s gorget, 1820view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Mikhailov Pavel Nikolaevich 1786-1840 drawing of boin (Bowen Bungaree)view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

King Philip Parker 1791-1856view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Earle Augustus Bungaree oil 1826view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Cayley George 1770-1829 map, 1807view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Mikhailov Pavel Nikolaevich 1786-1840 drawing of Bungaree 1820view full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Selkirk Henry 1920 sketchview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Lesueur Charles-Alexanderview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Mikhailov Pavel Nikolaevich 1786-1840 drawing of Movat and Salmandaview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Rodius Charles Balkabra, Salamander and Gooseberry (wife of Bungaree) wcview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Lewin John William afterview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Westmacott Robert Marsh 1801-1870 Jervis Bayview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

Polack Joel Samuel 1807-1882 whalingview full entry

Reference: see Mari Nawi - Aboriginal Odysseys by Keith Vincent Smith. Extensively illustrated with works illustrating Aboriginal people by early artists. ‘In writing this book, Keith Smith’s aim was to reveal and celebrate the significant roles that Aboriginal people played in Australia’s early maritime history. It is based on research Smith carried out for his PhD submitted in 2008, and focuses on the experiences and lives of Aboriginal people who sailed on ships that sailed through Port Jackson/Sydney Harbour to destinations around the world in the period 1790 to 1850. These destinations included not only places around and close to the Australian coastline and England which are commonly referred to, but also other countries entailing long distances – such as New Zealand, Macquarie Island, North and South Americas, South Africa, India, Tahiti and Hawaii.

There are many people whose names are familiar – Bungaree who is famous for sailing with Mathew Flinders around Australia, and Bennelong who sailed to England with Yemmerrawanne. However there are numerous other people whose names are not so well known. Smith describes how these people became guides, go-betweens, boatmen, sailors, steersmen, pilots, sealers, whalers and trackers. Most of them went willingly on these voyages, but there are descriptions about many others who were sent to penal colonies on Norfolk Island and Tasmania because they were judged to be criminals (for example, Musquito who was sent to Tasmania). Several Aboriginal women also went on voyages, sometimes accompanying their husbands. Some of these voyagers also settled in other countries, such as Thomas Chaseland (various spellings), who lived in New Zealand and whose first and second wives were Maori.

Smith has undertaken much meticulous and detailed research in many institutions around the world and the book is packed full of interesting information, which provides details about the lives of the Aboriginal people who went out on the ships and also provides contexts for the voyages on which the Aboriginal people went. There is some repetition and there are also many details which seem extraneous. I found these irritating as they detracted from the fascinating overall story and stories of individual voyagers which Smith has to tell about the opportunities Aboriginal people took to travel the world. The non-essential details often made it difficult to follow the lines of argument that Smith makes and are necessary where details come from a wide range of disparate sources. The documents include not only the well-known published journals and reports written by the British officers and settlers and visitors from other countries (for example, the French and Russians), but also unpublished ships logs and shipping records.

In the background details about Aboriginal life and activities, a shell fishhook from the Sydney area is cited as being 600 years old and stone files at one of the Curracurrang sites as being 2000 years old (p. 14). In a recent review of the evidence for hook and line fishing along the New South Wales coast, I found the earliest shell fish-hooks are ca 1000 years old and that they are almost always made from Turbotorquatus. A date of 2000 BP for stone files at Curracurrang 2 cannot be supported as there is no clear association between the files and the sample radiocarbon-dated to ~2000 BP and it is not possible to date the age of these specimens; all other stone files along the New South Wales central and south coasts are <=1000 years old.1

This is an interesting book about a little known aspect of the activities of Aboriginal people who were associated with Sydney Town, Port Jackson, in the early years of the British colony. Well worth buying by anyone interested in what happened to Aboriginal people in the Sydney region after colonisation. There is often a perception that there were few Aboriginal people living in coastal Sydney in the early nineteenth century; this book clearly shows otherwise.’
Publishing details: Rosenberg Publishing Pty Ltd, Dural, New South Wales, 2010, 216 pp, with indexes

china in early Sydneyview full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

export ware - China to Sydneyview full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

panoramas p41view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Taylor Major James panoramas p42-3view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Dufour wallpaper 1805 panoramas p41view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Atkinson James and panoramas p45view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Lycett Joseph and panoramas p53view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Close Edward and panoramas p55view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Eyre John and panoramas p57-60 and p64-5view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Lewin John William and panoramas p64view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Wallis James and panoramas p66view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Laurie & Whittle 1814 panoramas p67-8view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Petit Nicolas-Martin Aborigines c1802 published c1822view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

monograms - a discussion of in relation to the Sydney punchbowlsview full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Lycett Joseph in the Wallis albumview full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

Lewin John William vignette of Sydney on 1825 map of NSWview full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

West Absalom 1812 enfravings p103view full entry

Reference: see Sydney punchbowl - The Sydney Punchbowl by Elizabeth Ellis,
‘About the Book: Hordern House is delighted to publish this new work by Elizabeth Ellis OAM, investigating the milieu and the mysteries of the magnificent "Sydney Punchbowl", one of the most fascinating treasures of the Mitchell Library collection of the State Library of New South Wales, a fine and large porcelain bowl manufactured in China as export ware about 1820. The Punchbowl is decorated with a hand-painted panoramic scene of Sydney Cove around the outside and a group of Aboriginal figures as the inner centre-piece, and finished with exquisite Chinese-style floral and gilded bandings. As Elizabeth's essay makes clear, the Punchbowl and its intriguing history deserves to be better known, which is why Hordern House is also issuing a deluxe limited edition replica, hand-crafted by Chinese craftsmen in Jingdezhen, China, usually known as the 'porcelain city'. This book also includes a brief essay on the making of the replica, and of course the State Library's website also hosts a dedicated album of photographs of the original Punchbowl.’
Publishing details: Hordern House, 2013, hardcover with dust jacket, colour illustrations

English threepence with Captain Cook portraitview full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Jetton coin with Captain Cook portrait 1761view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

English guinea with Captain Cook portrait 1764view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Resolution and Adventure medal (Captain Cook)view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Copley gold Medal (Captain Cook)view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Commemorative medal of the Royal Society (Captain Cook)view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Courage and Perseverance medal (Captain Cook)view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Killed by the Indians medal(Captain Cook)view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Captain Cook plaque by Joshua Wedgewoodview full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Captain Cook paste medal by James Tassieview full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Banks and Solander medals p42view full entry

Reference: see Cook James - his coins & medals, Some contemporary numismatic aspects of the life and voyages of Captain James Cook, by Dr. W. J. D. Mira,
Publishing details: Sydney, Australian Numismatic Society, n.d. (1970), pb, 44pp includes bibligraphy

Smith Robert - the Littoral of the Surreal in Australia (essay)view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Thurley Geoffrey - Photor-ealism and Surrealism(essay)view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Hylton Jane - Tending towards the Surreal (essay)view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Dolan David - Aspects of Australian Surrealism (essay)view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Francis Ivor - P. Douglas Roberts (essay)view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Direction 1 exhibition 1956view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Drysdale Russell ‘Sunday Evening’view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

McClintock Herbert (Max Ebert)view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Gleeson Jamesview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Nolan Sidneyview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Cook William Delafieldview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Dallwitz Davidview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Smart Jeffreyview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Francis Ivorview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Marek Dusanview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Hylton Jane ‘Under Sympathy’ , a painting p30view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Thompson Mark ceramicsview full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Aliukonis Rosemary p31view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Ash Glen p31view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Ayliffe Janet p31view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Wyndham Michael p31view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Polomka Kym p31view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Serelis Vytas p31view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Sutherland Margaret CAS member died 1976view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Roberts Douglas CAS member died 1976view full entry

Reference: Surrealism in Australia. Contributions by Robert Smith, Geoffrey Thurley & Jane Hylton. A special issue of the C.A.S. Broadsheet devoted to surrealism in Australia. Introduction by David Dolan. Essays are: Smith Robert - the Littoral of the Surreal in Australia; Thurley Geoffrey - Photor-ealism and Surrealism; Hylton Jane - Tending towards the Surreal; Dolan David - Aspects of Australian Surrealism; Francis Ivor - P. Douglas Roberts.
Publishing details: Adel. Contemporary Art Soc. of Aust 1976. Ill.wrapps. 44pp. b/w ills. Bookplate on verso of front wrapp, else a Very Good copy.

Mansell Byram (1 illustration and comment) view full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Chevalier Nicholas ‘Sunrise on the River Yarra, 1861’ colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Glover John black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Buvelot Louis black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Roberts Tom 2 black and white plates and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

McCubbin Frederick colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Johnson Robert black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Streeton Arthur black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Heysen Hans colour and black and white plates and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Boyd Penleigh colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Annois Len black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Perceval John black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Drysdale Russell 1 colour and 2 black and white plates and extensive commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Dobell William 1 colour and 3 black and white plates and extensive commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Nolan Sidney 2 colour and 2 black and white plates and extensive commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Boyd Arthur 1 colour and 1 black and white plates and extensive commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Boyd David 1 black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Pugh Clifton black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Gleghorn Tom black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Tucker Albert colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Miller Godfrey black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Brodzky Horace black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Daws Lawence colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

French Leobard black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Underhill Tony black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Blackman Charles colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

James Louis black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Whiteley Brett black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Durack Elizabeth colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Strachan David black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Herman Sali black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

de Maistre colour plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Veal Hayward black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Colahan Colin black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Dargie William black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Hele Ivor black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Cassab Judy black and white plate and commentview full entry

Reference: see Modern Australian Painting by Donald J. Finlay, former President of the Australian Artists’ Association, London. Includes a brief biographical note on each artist whose work is illustrated.

Publishing details: Lond. 1963. Folio. wrapps. Dustjacket. unpag. (36pp.) 16 tipped-in col.
plates & b/w. ills.

Bowen Deanview full entry

Reference: Jar of Stars - Arthouse Gallery invitation, with artist’s statement
Publishing details: Arthouse Gallery , 2014, 4pp 2 illustrations
Ref: 221

Everton Samanthaview full entry

Reference: Jar of Stars - Arthouse Gallery invitation, with paragraph on the artist’s work by Jacqueline Houghton
Publishing details: Arthouse Gallery , 2014, 4pp 2 illustrations
Ref: 221

Transparent: Watercolour in Queensland 1850s–1980sview full entry

Reference: Transparent: Watercolour in Queensland 1850s–1980s. Essays by Michael; Hawker and Samantha Shellard. Includes artists’ biographies.

[‘Watercolour has long been an important medium in Queensland. Transparent is the first comprehensive survey of the Gallery’s watercolour collection, bringing to light many never seen before works from our substantial holdings from the mid nineteenth century to the 1980s. Watercolours by artists Conrad Martens and Harriet Jane Neville-Rolfe are included, together with works by Vida Lahey, JJ Hilder, and Kenneth Macqueen, celebrating the spirit of the modern era. Queensland Indigenous painter Joe Rootsey and Brisbane expressionists WG Grant and Joy Roggenkamp also feature, as does a selection of paintings by artists who served in World War Two — Douglas Annand, Douglas Green, James Wieneke. Beautifully illustrated, Transparent includes a curatorial overview of the artworks, a conservator’s insight into fine art papers, and biographical notes on the artists.

The exhibition ‘Transparent: Watercolour in Queensland 1850s–1980s’ is on display at the Queensland Art Gallery until 20 July 2014.’]
Publishing details: QAG, 2014, 180 pages, hardcover, colour illustrations

Fullbrook Samview full entry

Reference: Sam Fullbrook: Delicate Beauty by Angela Goddard. [‘One of Australia’s most influential postwar painters, Sam Fullbrook was a highly skilled colourist and tonalist, variously described as a classical artist, a painter’s painter and an art outsider. Admired by the public, critics and artists alike, Fullbrook’s works are absorbing and ambiguous, evocative and timeless.

Published in association with the exhibition ‘Sam Fullbrook: Delicate Beauty’, this catalogue features some of Fullbrook’s most important portraits — including Ernestine Hill 1970, one of the Queensland Art Gallery’s most beloved paintings — landscapes and racetrack paintings, with a focus on works produced when the artist resided in south-east Queensland. Beautifully illustrated and featuring an interview with the artist by John Cruthers, Sam Fullbrook: Delicate Beauty is the first substantial publication of the intimate and highly individual works of Sam Fullbrook to be produced by a state gallery in almost two decades.

The exhibition ‘Sam Fullbrook: Delicate Beauty’ will be on display at the Queensland Art Gallery, Brisbane, 5 April – 10 August 2014.’]
Publishing details: QAG, 2014,
88 pages paperback colour and black-and-white illustrations

Kriegel Adamview full entry

Reference: ADAM KRIEGEL (B. 1912 Arrived Australia. 1947) at GFL Fine Art May 28, 2014 - lot 185 STILL LIFE WITH JUG
Initialled and dated 59 lower right
Dimensions: 27 x 20cm
Medium: Oil on card

Richard Edgarview full entry

Reference: EDGAR RICHARD (AUS)
Title: ‘The Pram’
Medium: Original 1928 Colour Lithograph
Image size: 10cm x 13cm
Publishing details: offered on Graysonline - Home >Fine Art & Collectibles >Artworks and Antiques >Sale : 2301909 >Lot : 0014

Babbage Herbert Ivanview full entry

Reference: Herbert Ivan BABBAGE
(1875-1916)
Australian School
Watercolour
Sandy cove before cliffs on the Cornish coast
9.5” x 13.75” (24.1cm x 34.9cm)
Estimate:
£50 - £70
2 works offered at W.H. Lane & Son
Important Sale of Pictures, Sculpture & Applied Art. Impressionist watercolours. And Herbert Ivan BABBAGE
(1875-1916)
Australian School
Oil on board
A donkey cart on Smeaton’s Pier St Ives
Dated 1913
Signed
Framed and glazed
10” x 12.5” (25.4cm x 31.7cm)

Nicholas Hilda Rixview full entry

Reference: see Australiana Magazine May 2014, vol 36, no. 2. ‘Hilda Rix Nicholas: A cosmopolitan artist in 1920s Sydney’ by Julie Peterson, 7pp with 17 illustrations.

Seuffert Anton master craftsman NZview full entry

Reference: see Australiana Magazine May 2014, vol 36, no. 2. - advertisement by Simpson’s Antiques.

Herrgott Josef David 1823 - 1861view full entry

Reference: see Australiana Magazine May 2014, vol 36, no. 2. - article: ‘A South Australian colonial wax relief by Josef David Herrgott (1823-61)’ by Gary Morgan, 8pp with 7 illustrations.

Clarke John (Snr and Jnr) cabinet makersview full entry

Reference: see Australiana Magazine May 2014, vol 36, no. 2. - article: ‘A colonial Grecian library table’ by Warwick Oakman

Menpes Mortimerview full entry

Reference: Mortimer Menpes - An Australian Master, at Peter Walker Fine Art, Adelaide exhibition
Publishing details: 2014

Haley Rochelleview full entry

Reference: see Artist Profile magazine no. 22.
Publishing details: 2013

Cairns Mitchview full entry

Reference: see Artist Profile magazine no. 22.
Publishing details: 2013

Deacon Destinyview full entry

Reference: see Artist Profile magazine no. 22.
Publishing details: 2013

Pynor Helenview full entry

Reference: see Artist Profile magazine no. 22.
Publishing details: 2013

Teer Daveview full entry

Reference: see Artist Profile magazine no. 22.
Publishing details: 2013

Smith Kikiview full entry

Reference: see Artist Profile magazine no. 22.
Publishing details: 2013

Hodges Christopherview full entry

Reference: see Artist Profile magazine no. 22.
Publishing details: 2013

Lincoln Kevinview full entry